February catalogue - Asian Art Society

FEBRUARY iss UE

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: detail of a 6 panels screen presented by Galerie Kommoss on p.18

TAB l E o F Con TE n T s

C aTalO gue

JAPAN 15 SOUTH-EAST 58 INDIA 86 CHINA 110 GANDHARA 122

ARIE VOS

Arie Vos, founder of Kitsune, regularly organizes exhibitions and participates in international fairs. He is also founding member of Asian Art In Brussels now converted to "CIVILISATIONS - Art in Brussels". If you would like to be invited to these exhibitions, then we kindly ask you to join the mailing list.

Arie has been specializing in Japanese art for over 30 years and he introduced the "Kitsune" brand in 1998. Today you can visit his gallery, rue des Minimes 55, housed in an 18th century building and based in the fashionable Brussels Sablon area at the heart of Europe.

Note that Arie's passion for Japanese art started during his childhood and over the past 30 years he developed an extensive network of dealers, collectors and curators in this particular field. He can also assist clients with interior designs, evaluations and appraisals (Arie is board member of the belgian chamber of art experts, providing fully documented expertises and guaranteeing discretion).

Contact: +32 476 87 85 69 arie.vos@kitsune.be www.kitsunegaroo.com

Kitsune -fox priestnetsuke 19th century Signed Wakyosai.

W HAT ROLE DID ART PLAY IN YOUR CHILDHOOD AND TEENAGE YEARS? W ERE THERE ANY ARTISTS OR COLLECTORS IN YOUR FAMILY?

To start with, I would like to express my early fascination for drawing. I could spend hours in my room, just with a pencil and a piece of paper. Apparently, I was talented (that's what the school reported); making drawings in perspective at the age of three. Later on, I developed my skills in hyperrealism painting and admired the techniques used by the Flemish primitives. Although my parents were not into art, they somehow supported me in my investigations and they bought art books for me, they took me to museums and exhibitions.

I think I met the right persons in my life (I call them my influencers). Everything starts with an old lady, being a neighbour at that time. She asked my parents if I could help her in the garden. I was about eight years old and upon entering her house for the first time I was nailed to the ground when discovering all the artworks she had collected. She noticed immediately my admiration for one of the paintings and started to tell me amazing stories about how she acquired the artworks. I loved visiting her because of her story telling. Finally, she was not able to stay in the house due to her age and moved into the house of her sister. Before leaving, she gave me a Japanese ivory netsuke, representing and old lady with a little boy… symbolising our relationship. This was the first artwork I “acquired”. That netsuke changed my whole life, but I was never able to tell her. I still have it. After that, there is a time gap of roughly 5 years, to meet my second influencer. Again an older lady in the

neighbourhood. I helped her with carrying something heavy upon which she asked me where I lived. She invited my parents and me for a drink. Same story : the house full of art. The big difference with the previous influencer, is that she took me to museums, art markets and antique shops. I learned much on how to select artworks. However, the most important influencer came into my life when I was visiting my grandfather. After dinner I took my bicycle and made a tour in the neighbouring villages. My attention got caught by a little antique shop. I was 15 at the time. Looking through the shop window, I saw a pair of Chinese porcelain vases in “famille verte” made for the Persian market (extremely rare). So, I decided to visit the shop. The owner of the shop, a little bit suspicious about my appearance, asked me with a severe voice “what can I do for you?”. As soon as I started my inquiry for these vases, he was perplexed. To make a long story short : he became my teacher in art and antiques and I owe him so much in terms of acquiring knowledge. He also encouraged me to purchase my first artwork : the money earned with my first student job during summer holidays was entirely spent on a Volkstedt Rudolstadt porcelain figurine that I exchanged for a pair of Japanese Imari vases from the 17th century.

KITSUNE MEANS « FOX » RIGHT ? WHY DID YOU CHOOSE THAT WORD FOR THE NAME OF YOUR GALLERY ? DOES IT HAVE ANY MEANING?

TKitsune is indeed the Japanese word for “fox”. The answer to your question is very simple : my family name “Vos” is the Dutch translation for Kitsune. Foxes in Japanese art are quiet common and they are represented in many ways. Japanese folklore is rich in mythology, and the fox is no exception : the animal has an important mythical status, oscillating between a symbol of cunning and a powerful possessor of great intelligence and good fortune having the ability to shapeshift into human form.

W HAT MADE YOU WANT TO START COLLECTING? W HAT WAS THE FIRST ARTWORK YOU PURCHASED?

First netsuke recieved at the age of 8 years old.

A pair of bronze doves (pigeons) on a wood base Meiji/Taisho-period (ca 1900-1920)

A S WITH MOST TRADITIONAL THINGS - YOUNG PEOPLE TEND TO THINK THAT ANTI q UES BELONG TO MUSEUMS AND CAN BE A LITTLE OLD FASHIONED. H OW DO YOU CAPTURE A NEW coll E c To R’s E y E?

The most difficult thing, is to attract young people into the gallery. Times have changed : the “collector” as such is about to disappear. When I go to conventions (mostly focusing on a specific subject), I only see elder people. The new generation of art buyers is much more eclectic and will buy art as a part of their interior design. So I have oriented my gallery towards a “feeling at home” concept. I work with matching colours when displaying different artworks (eclectic). In the same way I try to exhibit the more “timeless” Japanese art. Whenever I exhibit traditional Japanese art (somewhat old fashioned for young people), I will try to integrate the artworks in a composition that will create a contemporary touch. Youngsters also grew up with internet (I grew up with books and the only access to acquire art was trough the galleries, auctions and fairs). Thus, in order to attract young people, you have to be visible in their world. Internet and the social media are surely a solution to get this kind of visibility. But, I have a long way to go in this field.

H AS YOUR TASTE IN ART CHANGED MUCH SINCE YOU STARTED COLLECTING?

Yes my taste changed. Acquiring knowledge in the different fields of Japanese art takes time. so, it is normal that you buy and collect in fields you are trusted with. My taste was also adapted to my purse (certainly as a student, or even later on, when I bought a house and got kids). However, there has always been a kind of red thread through my collecting areas : the items I purchase are primarily of Japanese native taste. They reflect the inner soul of Japan.

D O YOU HAVE ANY WORKS IN YOUR COLLECTION FROM OUTSIDE OF J APAN?

I'm not limited to Japanese art when it comes to my own collecting fields. I like for instance oceanic art. The latest two items I acquired were not Japanese : a piece of Dutch furniture from the 17th century and a pipe from Soudan.

D

O YOU ENCOURAGE TO USE ANTI q UES I E VASES, BOWLS, CUPS IN EVERYDAY LIFE ? A RE THEY TOO PRECIOUS FOR DAILY USE?

Absolutely! Nothing as beautiful as a vase with an awesome ikebana flower arrangement. Most of my artworks are Japanese tea ceremony related. I remember my first exhibition where at closing time I served matcha tea to a client in a 17th century tea bowl. The sensation was just fantastic… he nota bene became my biggest collector of Japanese tea bowls.

W HAT MUST A WORK POSSESS IN ORDER FOR YOU

TO EXHIBIT IT?

The question for me is rather “would I like to have this artwork in my own collection”. When the answer is “no”, I will not exhibit it, regardless of its quality, uniqueness or whatever. Of course, an artwork needs to meet a certain standard when it comes to authenticity, quality, design, craftsmanship, aesthetics or rarity.

YOU ARE AT THE HEAD OF THE C IVILISATIONS A RT FAIR. W HAT DOES THE C IVILISATIONS A RT FAIR AIM TO ACHIEVE? W ITH M ANY OTHER A RT FAIRS COMING BACK TO NORMALITY THIS YEAR, H OW DO YOU POSITION YOUR FAIR ?

With civilisations we aim to bring different cultures from all over the world to the public. We focus on the ever evolving eclectic taste of our international clients an collectors. The fair also aims to seal the continuity of our important Sablon heritage, known worldwide as a district of art and antiques. Due to Covid, many fairs were cancelled and rescheduled to June 2022. Note that Civilisations is a fresh concept arising from a series of previous events that were originally organised in June, however with a different approach now. This approach covers another goal of civilisations. We want, as a non-profit organisation, to create a fair for our members that is affordable (in comparison to otherfairs), yet providing to the public a selection of artworks by renowned dealers. Rather than having three associations (in the past), we now operate as one association resulting in more effective decision making, less overhead costs whilst promoting our members throughout the year via newsletters, online catalogues and postings on the social media. I

would position the fair as “Driven by passion”.

I F YOU COULD HAVE DINNER WITH ANY THREE ARTISTS, LIVING OR DEAD, WHO WOULD YOU CHOOSE?

I would choose Shibata Zeshin (1807-1891), a Japanese lacquer artist and painter.

Ogata Korin (1658-1716), also lacquerer and painter, as well as textile designer.

Kobori Enshu (1579-1647), tea ceremony master, painter, ikebana master, poet and garden designer.

Three case inro Shibata Zeshin once in Arie Vos' collection Now Sold

FEBRUARY ART W o RK 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.

01Shō Kannon

Hanging scroll Japan Muromachi period 16th century ink, colour and gold on silk Scroll: 203 cm x 100 cm Painting: 122,5 cm x 80,5 cm Price: 68.000 euros

Obje CT P R e S en T ed by: Gregg Baker Asian Art M.: +32 468 00 56 85

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

A silk kakemono (hanging scroll) painted in ink, colour, gold and kirikane (thinly cut gold leaf) with a shō Kannon seated in kekka fuza (lotus position) on a lotus pedestal raised on a four-legged dais, holding a renge (red lotus) in her left hand. The right hand is in segan-in mudra, the gesture of dispensing favours for the well-being of the world. The head is adorned with kebutsu crown at the base of a tall top-knot and she is wearing an elaborately decorated necklace and armlets.

Kannon, Bodhisattva of mercy (Sanskrit: Avalokiteshvara), personifies compassion and is one of the most widely worshipped Buddhist divinities in Japan. The name Kannon, meaning 'watchful listening' is the shortened version of her original title, Kanzeon, meaning 'the one who constantly surveys the world listening for the sounds of suffering'. According to Pure Land Buddhism the task of Kannon is to witness and listen to the prayers and cries of those in difficulty in the earthly realm and to help them achieve salvation. The Lotus Sutra teaches that one will be granted immediate salvation by intently reciting Kannon's name to ask her for guidance. The three major sutras of Pure Land Buddhism describe Kannon's descent to meet dying devotees as the principal attendant Bodhisattva of Amida Buddha, along with Seishi Bosatsu. shō Kannon is the sacred Form of Kannon, the model for all forms of Kannon and represents the pure, noble, sacred and holy. Worship of this deity originated in India between the 1st and 2nd century AD. She is also considered as one of the Six Manifestations of Kannon who protect the six realms of karmic rebirth. In this role, shō Kannon brings salvation to those in the hell realm. In traditional Japanese Buddhist art and sculpture, shō Kannon commonly holds a lotus in one hand while the other may either hold a vase or form the segan-in mudra. Another attribute is the kebutsu crown which contains a small image of Amida Buddha. The kebutsu symbolises Kannon's role as one of Amida's main attendants.

For more details, please visit: http://japanesescreens. com/catalogue/scrolls/7763/

02s ix-PA n E l sCREE n W i TH Tig ER s

C Rossing A Riv ER

Unkwown Kyōto artist Japan

Edo period 19th century Ink and light colors on paper H 171 x W 382 cm

Price: 25.000 euros © Alain Duprat

Obje CT P R e S en T ed by: Galerie Kommoss

M.: +49 177 6033 201

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

Beautiful six-panel screen with a depiction of three tigers crossing a river. In East Asian belief, the tiger is considered to be brave, strong and fearless but at the same time tends to be impetuous and irritable. These characteristics are well expressed in East Asian renditions. On this screen, a male tiger is fearlessly carrying his cub through a roaring river while another one, possibly the female one, indicated by a black speckled fur, sits already on the shore trying to dry herself.

The whole composition as well as the postures and facial expressions of the tigers can be traced back to a layout originally created by Maruyama Ōkyo (1733-1795). For instance, the image created here, can directly be compared with one of his famous tiger screens in the collection of the British Museum.

Ōkyo was one of the most influential painters of his generation and has clearly shaped the history of Japanese painting, even generation after him. It is assumed that he was already supported by many student painters in his large workshop during his lifetime, so it seems just natural that many painters in Japan adapted his popular style. This screen can be located in his tradition. It is, however, a later work from the 19th century by an unknown but, nevertheless, not lesser skilled Kyōto painter who was following the footsteps of a legend.

03Biz E n CHAT s UB o

Tea leaf jar Japan Edo period

Late 18th – early 19th century Height: 28 cm Price: 2.200 euros

Obje CT P R e S en T ed by: Kitsune Gallery

M.: + 32 476 87 85 69 E.: arie.vos@kitsune.be W.: www.kitsunegaroo.com

Chatsubo are earthenware jars used to store the tencha (tea leaf), non-powdered green tea before mortared by stone mill. Here we have an Edo-period (1603-1868) example of Bizen ware, one of the 6 ancient kilns of Japan (rokkoyo), appreciated for their Yakishime (unglazed and high-fired pots) onto which natural falling ash glazes create wonderful designs. This chatsubo is a fantastic illustration revealing the beauty of Yakishime.

Biz E n H id A s UK i K in E gATA miz U s A s H i

Fresh water jar

Japan

19th century

Height: 17,5 cm (including lid) Diameter: 16 cm Price: 3.000 euros

04A mizusashi is a lidded container for fresh cold water used in chanoyu (Japanese formal tea ceremony). Here we have an example of a Bizen ware mizusashi. Bizen is well-known as one of the 6 ancient kilns (rokkoyo) in Japan with over a thousand years of history. It is marked at the bottom with a kamajirushi (kiln markunidentified) and executed in hidasuki (wrapped in straw before fired; due to the high temperature, the straw burns, leaving scorch marks on the pot). It comes with a black lacquered lid and the mizusashi is shaped as a “kine” (referred to as kinegata), a Japanese mortar, frequently depicted in the mythological story of the hare in the moon preparing mochi (Japanese rice cakes made of mochigome) and is the traditional food for Japanese New Year. Thus we might assume that this mizusashi was made for New Year tea ceremonies. SOLD

Obje CT P R e S en T ed by: Kitsune Gallery

M.: + 32 476 87 85 69

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

05mAK i-E T EA C A dd Y W i TH mAP l E lEAv E s A nd C HERRY Blossoms

Ippyōsai VII (*1942)

Japan 20th century Black and red lacquer, gold, silver and aokin on wooden core 5,8 cm (h) x 8,3 cm (Diam) Inv. No. 19.019 Price: 7.000 euros

comes with fitted, inscribed and sealed wooden box. With appraisal by tea master Hōunsai (*1923).

Obje CT P R e S en T ed

Galerie Kommoss

M.: +49 177 6033 201

by:

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

Excellent tea caddy (natsume) made by the 7th Ippyōsai, Ippyō Eizō (*1942). The exterior is finished in polished jet-black lacquer (roiro) and decorated in gold maki-e with an all-over pattern of maple leaves and cherry blossoms. The cherry blossoms are either in gold or red lacquer, while the maple leaves are executed in gold maki-e with fine veins. some of the leaves seem to have a slight greenish shine and are possibly made of a material called aokin, an alloy of gold and silver. The interior and the base are silver coated. Rims are in gold lacquer.

Ippyō Eizō has been the 7th generation of one of the leading lacquer master families in Kyōto. He has studied under his father, Ippyōsai VI (1908-2001), and shimizuya Kōmin. Ippyōsai VII is especially known for his excellent skills in creating complex compositions on the three-dimensional space of a natsume tea caddy. His workshop is currently run by the 8th Ippyōsai, his daughter Ippyō Ryō.

The wooden box, made of paulownia wood (kiri), is signed underneath: Makie-shi Ippyōsai and sealed Ippyōsai. Inside the box's lid is an appraisal by the 15th grandmaster of the Urasenke tea ceremony school, Hōunsai (*1923): Unkin hira-natsume, Konichi. He also wrote his kaō in red lacquer in the inside of the tea caddy's lid.

06Tsu T sugaTa Hanakago

Tomobako

Tanabe Chikuunsai II (1910-2000). Signed by Chikuunsai zo (Made by Chikuunsai)

Japan Madake bamboo, Yadake arrow shaft for handle, rattan, lacquer 45 cm (h) x 12,5 cm x 12,5 cm Price on request

Obje CT P R e S en T ed by: Galerie Mingei M.: + 33 (0)6 09 76 60 68

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

Hakogaki Kikko sukashi-ami tsutsugata, hanakago, Tekisuikyo*, Chikuunsai zo, Osaka Shōbidō kan, with seal shōbidō (open hexagonal plaiting, tubular shape, flower basket, Tekisuikyo, made by chikuunsai, authenticated by the shōbidō retailer gallery, osaka, with seal shōbidō)

A bronze censer on three short feet standing on a matching stand and inlaid in silver with farmers, fishermen and scholars in a rural landscape

07C E ns ER

Seal: Made by Taixin Zhi Rong China qing dynasty 19th century

Bronze, silver inlays

11 cm (H) x 21 cm (Diam) Price: 8.800 euros

Obje CT P R e S en T ed by: Gregg Baker Asian Art M.: +32 468 00 56 85

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

08Hanakago W i TH HA ndl E

Tomobako

Wada Waichisai II (1877-1933). Signed by Waichisai zo kore (Waichisai made this)

Japan Madake bamboo, lacquer 46 cm (h) x 24 cm Price on request Obje CT P R e S en T ed by: Galerie Mingei

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

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

Hakogaki Hanakago Waichisai

09Renzan

(m o U n TA in R A ng E s)

Tomobako

Wada Waichisai III (1899-1975). Signed by Waichisai zo (Made by Waichisai)

Japan

Madake, nemagari-dake, rattan, lacquer

45 cm (h) x 30 cm x 29 cm Price on request

Obje CT P R e S en T ed by:

Galerie Mingei

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

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

W: www.mingei.gallery

Hakogaki Tennendake te, teiryo hanakago (Natural bamboo basket with handle)

Back: Mei, Renzan, Seisetu fūujō-shi, Waichisai (Entitled « Mountain Ranges », The studio where rain and wind may manifest merciful blessings in western Settsu region, Waichisai with seal Waichisai.)

The triangular plaiting (uroko-ami) resembles mountain ranges (Renzan in a poetic Japanese expression).

Black lacquered iron nyoi (priest's staff) decorated with a dragon.

10n yoi (PR i E s T's s TAFF)

Japan Edo period 18th century lacquered iron Height: 47,5 cm, 49 cm (with stand) Price: 3.200 euros

Obje CT P R e S en T ed by: Gregg Baker Asian Art M.: +32 468 00 56 85

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

11TA n BA sTo RA g E JAR Fo R JAPA n E s E P EPPER (sanshō T subo)

Japan

Edo period 17th century

Ash-glazed stoneware 29 cm (h) x 21 cm (Diam.)

Inv. No. 21.024 Price: 14.000 euros

Obje CT P R e S en T ed by:

Galerie Kommoss

M.: +49 177 6033 201

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

Extremely rare early Edo period storage jar from sasayama in today's Hyōgo prefecture. With its sharp-angled shoulders, its broad, flat base and slightly narrowed body, this jar illustrates a Japanese type of storage jars that was invented by Tanba potters for the promotion and export for one of the local famous goods, known as asakura sanshō, or “Japanese pepper”. Asakura sanshō (Zanthoxylum piperitum var. inerme) is a local variation of common Japanese pepper, that is closely related to Chinese Szechuan pepper.

However, asakura sanshō only grew wildly in the mountains of the Hyōgo prefecture and gained popularity throughout Japan for its fresh and bright aroma since the late 16th century. The importance of this local product is highlighted by the impressed characters on the vessel's wall, referring to the vessel's content. It shows that the production of the vessel had only one purpose and it is assumed that these jars with the impressed product name were presented to the local Daimyō or even to the shōgun.

Only very few Tanba jars with the impressed characters asakura sanshō are existing today and none of the known examples are of the kind shown here. Another similar jar of the same type, however without impressed characters, was presented by Galerie Kommoss in the Asian Art society's catalog 07/2021.

12B A m B oo Flo WER B A s KET, T i T l E d "F RA g RA n T B REE z E"

Higashi Takesonosai (1915-2003)

Signed underneath: Takesonosai. Japan shōwa period 1970s

Bamboo, rattan, lacquer

37,4 cm (h) x 19,3 cm x 15,5 cm (d) Inv. No. 21.004 Price: 8.500 euros

comes with fitted, signed and sealed wooden box and original workshop label.

Obje CT P R e S en T ed by: Galerie Kommoss

M.: +49 177 6033 201

E.: info@galeriekommoss.com

W: www.galeriekommoss.com

Bamboo flower basket of lacquered bamboo and rattan made by Higashi Takesonosai (1915-2003) and titled "Fragrant Breeze" (Kunpū). The name refers to the south wind in early summer that brings the fragrance of fresh green. The poetic name fits perfectly to the light, airy impression of the basket's thousand-line construction (sensuji gumi) that conically builds up on a square plaited base (yotsumi ami). The handle, made of two split bamboo stripes, were attached at the side, starting at the base and spanning in a wide bow above the basket.

Higashi Takesonosai is regarded as one of the leading bamboo artists of the later twentieth century. He received early training from the Kyōto based basket-makers Kaneka Chikkasai (dates unknown) and Wada Rinshi (dates unknown), but already started to develop his own creative style in the 1930s. His first solo exhibition as independent artist was in 1937 and he made his first entry into the National Exhibition (Nitten) in 1952. Since then, he gradually began to move on from Chinese-style objects (karamono) to a range of expressive new techniques.

A large collection of his work, gathered by the great Japanophile Lloyd Cotsen, can be seen in the Asian Art Museum, San Francisco.

13Fuyo [oPU l E n CE A nd glo RY]

Tomobako

Wada Waichisai III (1899-1975). Signed by Waichisai saku [Made by Waichisai]

Japan

Susudake Kinmei-chiku (smoked and dwarf nemagaridake bamboo) 38 cm (h) x 37 cm x 34 cm Price on requestt

Obje CT P R e S en T ed by: Galerie Mingei

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

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

The shape of the basket resembles Fuyo (like Rose Mallow flower and lotus flower).

Hakogaki Kinmei susudake, tsuri-hanakago (Smoked Kinmei bamboo, a hanging flower basket).

Seisetu fūujō-shi (The studio where rain and wind may manifest merciful blessings in the western Settsu region), Waichisai with seal Waichisai.

R E ss E i mE n P o

Samurai face protection mask with fierce expression Japan

17th century

Iron, red lacquered Height: 25 cm (including yodare-kake) Width: 15 cm Price: 12.000 euros

A marvellous 17th century Haruta school iron menpo with “yadome” and “kirigane” plum flower blossoms on each side of the mask, as well as on the sharply protruding chin. The nostrils are heart-shaped. The inner side has a rich red lacquered surface which flaked off on some parts of the mask near the border (please contact us for detailed photos), but generally speaking the menpo is in overall good condition. SOLD

Obje CT P R e S en T ed by: Kitsune Gallery M.: + 32 476 87 85 69 E.: arie.vos@kitsune.be W.: www.kitsunegaroo.com

Biz E n WARE

T s URUKUB i (CRA n E’s n ECK) vA s E

Flower vase Japan 19th century Height: 23 cm Price: 1.600 euros

15A very fine 19th century Bizen yaki hanaire (flower vase) for a single flower decoration during tea ceremony. Bizen is well-known as one of the 6 ancient kilns (rokkoyo) in Japan with over a thousand years of history. Marked at the bottom with a kamajirushi (kiln mark - unidentified). The typical reddish body shows some “goma” (sesame seed) natural glaze spots and has itome (a pattern of horizontal grooves). SOLD

Obje CT P R e S en T ed by: Kitsune Gallery

M.: + 32 476 87 85 69 E.: arie.vos@kitsune.be W.: www.kitsunegaroo.com

sHAKYA m U ni B U dd HA

Ceylon, Sri Lanka

18th century

Gilt cast bronze

Height: 25 cm Width: 24 cm Weight : 11 kg Price: 48.000 euros

Obje CT P R e S en T ed by: Alexis Renard T.: + 33 1 44 07 33 02

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

This beautiful gilt bronze Buddha is a testament to the great refinement of ceylonese sculpture during the Kingdom of Kandy. The characteristics of physical perfection (lakshanas) are traditionally conferred on Shakyamuni Buddhas. This example is represented sitting in the virasana pose, his hands turned up towards the sky in dhyana mudra. Finely engraved circles can be seen on his palms, as well as the sole of his right foot, which also faces the sky. His imposing figure is dressed in a pleated garment that drapes over his left shoulder and covers his legs. The finely carved lines defining the folds of the garment evoke early Buddhistic images fromMathura. The Buddha's serene face has fine features, and a delicately engraved spiral-shaped urna onhis forehead. His ear lobes are elongated, symbolising his nobility, and his headdress takes the form of a stylised flame. This Buddha is a perfect example of the continuation of the Sinhali tradition of bronzework, which tended to represent the Buddha with a robust body and dressed only in a pleated cloth.

The independent Kingdom of Kandy, founded in the 15th century, became the main political authority in 17th-century Sri Lanka.It resisted various local invasions until the arrival of the British in 1818. This beautiful solid cast piece is particularly heavy, enhancing its spiritual value.

A standing Buddha of the same period is held at the Metropolitan Museum of New York (Inv. n. 2010.68a, b).

This is a mask of sublime refinement, both in the facial expression and the fine adze carving on the back. A masterpiece.

17mA s K o F A H ERoi C P R in CE

Bali, Indonesia 19th century

Wood, pigment, shell, hair Height: 18 cm

Provenance: Terrance “Zak” Saklofsky Price: 9.000 USD

Obje CT P R e S en T ed by: Thomas Murray M.: +1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com

This mask has stylistic affinities with masks of the Pacific Northwest coast.

Collected 40 years ago by Terrance “Zak” Saklofsky, one of the great field collectors of the 1970s

18mA s K o F A Comi C dE mon

Bali or Lombok, Indonesia

19th-early 20th century Wood, pigment, shell, hair Height: 21 cm Provenance: Terrance “Zak” Saklofsky Price: 7.500 USD

Obje CT P R e S en T ed by: Thomas Murray M.: +1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com

mA s K o F A C H in E s E C HARACTER

Bali or Lombok, Indonesia 19th-early 20th century Wood, pigment Height: 16 cm Provenance: Terrance “Zak” Saklofsky Price: 3.000 USD

Obje CT P R e S en T ed by: Thomas Murray M.: +1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com

This mask offers a very appealing look at how foreigners, in this case a person of Chinese descent, were viewed.

Successful sculptural line.

20B URong, THE g od o F g ood

Bali or Lombok, Indonesia 19th-early 20th century Wood, pigment Height: 23 cm Provenance: Terrance “Zak” Saklofsky Price: 2.500 USD

Obje CT P R e S en T ed by: Thomas Murray M.: +1 415.378.0716 E.: thomas@tmurrayarts.com W: www.tmurrayarts.com

The fanged deity goes back long before the arrival of the Brahmanic religions, commonly referred to as Hinduism. We see a long fanged 'mask' on shields from the Dayak of Borneo.

The ancient Bronze Standards found on Roti and Savu feature an iconography of. long sharp fangs, not so different from this mask being offered.

A BRonzE ConCH

sHEll And TRiPod sTAnd (sankHa)

Khmer, Cambodia

Angkor Period

Height: 31 cm Price: 12.000 USD

Obje CT P R e S en T ed by: Sue Ollemans

M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

Used for pouring water or as a sacred instrument, the example shown here appears to fall into the latter rarer category due to the spiral ending allowing the blowing of the shell. This was essential for the sound of Om.

The example is decorated on the pierced fan shaped lip over the main aperture with a central figure of a fierce face of the Monster of Greed (Kirtimukka ) and in China and Tibet (Tào Tìeh ),in turn surrounded by four Nagas. The tripod is decorated with Nagas. The rare ritual cult object has a beautiful shape exhibiting fine volumes and finely articulated features. The tripod supports the conch shell both in a physical and artistic way. The lively character of the total ensemble is exemplified by the powerful expression of the mythical animals and their convincing movement.

References

Marle l Zeferys, Nicholas Zefferys and Jeffrey stone, Heaven and Empire Khmer bronzes from 9 - 15th Century, White Lotus Co Ltd 2001

Albanese M, Angkor: Splendors of the Khmer Civilisation White Star 2006 Coe M ,Angkor and the Khmer Civilisation,Thames and Hudson 2004

Cort. LA & P.Jett Gods of Angkor, Bronzes from the National Museum of Cambodia Smithsonian Institute 2010 Sherman Lee, Ancient Cambodian Sculpture (1969) page 75 no 37

Pal P., The Sensuous Immortals; LACMA nr 153

22A sTonE sTElE

Khmer, Cambodia

14-15th century

60 cm X 40 cm X 7 cm Price: 8.000 USD

Obje CT P R e S en T ed by: Sue Ollemans

M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

This syncretic stele depicts emblems symbolizing the Brahmanical gods arranged on a ritual altar in an open shrine (mandapa). At left is a holy-water vessel encircled by a rosary, the principal attributes of Brahma, supported on the bloom of a lotus flower. At center is a trishula, shiva's trident, with a widebladed axe below. At right are Vishnu's discus weapon and conch shell, his war trumpet. The open pavilion and altar are closely related to architectural structures preserved at the seventh-century Khmer city of Sambor Prei Kuk. The ritual utensils depicted here were likely displayed in such a shrine during worship.

sPEAR HEAd WiTH KiRTimUKHA HEAds

Tanjore, Tamil Nadu, Southern India

Late 16th - Early 17th century

Iron Height: 49,5 cm Price: 8.500 euros Obje CT P R e S en T ed by: Alexis Renard T.: + 33 1 44 07 33 02

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

This spear head of sang type has a double edged straight blade, decorated at the base by deeply chiseled kirtimukha heads that seem to spit out the blade.

A related spearhead also decorated with kirtimukha faces, and said to have been made in Tanjore, is published in: REDDY R. (2018), Arms & Armour of India, Nepal & Sri Lanka: Types, decoration and symbolism, London: Hali Publications, p. 349.

gUPTA B U dd HA H EA d

Northern India Gupta period

Early 4th century Red sandstone Height: 16 cm Provenance: Private collection, Germany Price : 58.000 euros

Obje CT P R e S en T ed by: Christophe Hioco

M.: +33 (0) 1 53 30 09 65

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

Buddha Śākyamuni: an exceptional being Heir to the very first images of the Buddha, this delicate sculpture shows with great refinement the distinctive iconographic features of the Blessed One. The elongated earlobes indicate his renunciation of princely life. The cranial protuberance or usnīsa, clearly visible here, is the symbol of his wisdom and enlightened mind. The hairstyle that covers the cranial bump consists in small and thin articulately rendered snail-shell curls and is characteristic of the period. The poetic texts describe his half-shut eyes in the shape of lotus petals.

An aesthetics marked by humanity

This head is a perfect example of an image that beautifully combines an accessible human figure with the sublime. The sweet humanity, so valued in Gupta sculpture, is evident in this finely carved face with sensuous lips and full cheeks. One must also admire the arched eyebrows and the very smooth carving of the recessed parts around the nose, mouth and chin which is quite exceptional. However, his downcast eyes indicate a remove from the mundane and reflect his state of meditation and perfect beatitude. The slightly downturned corners of the lips also imply concentration.

The delicacy of the carving, the high quality of the sculpture and the incredible charisma emanating from this Buddha head make it a magnificent example of the artworks produced at the beginning of the Gupta period. It comes from the private collection of a doctor from northern German-speaking Switzerland, who died in 1997 and who had owned the piece since the 1960s.

sH ivA A nd PARvAT i

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

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.

Obje CT P R e S en T ed by: Kapoor Galleries

M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

A RU l ER on H o R s EBACK W i TH H

is RET in UE

Deccan, India

Circa 1590-1610

Black line, gold and colors on paper Height: 13 cm Width: 8 cm Provenance: H.R.H Maria Pia de Bourbon Parme Galerie Kevorkian, Paris Price: 15.000 euros

Obje CT P R e S en T ed by: Alexis Renard T.: + 33 1 44 07 33 02

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

Representations of Tara, a protective goddess whose key virtues are compassion and mercy, often combine spirituality and sensuality. They are recognisable by the flower held in her hand. This kind of sculpture is used as a focal point during meditation, and is generally placed in temples alongside its companion, the bodhisattva Avalokiteshvara, or Padmapani – literally, ‘he who holds a lotus'

This beautiful bronze Tara is a product of the Kathmandu Valley, dating back to the 18th century. Sitting in the padmasana position, she is represented bestowing a benediction: her left hand is in surya mudra, while her right hand is held low and open towards the sky in vara mudra, offering a blessing. She is richly dressed and bejewelled, and her intricate headdress is decorated with floral motifs and large earrings. She is seated on a lotiform base and holds in her left palm the stem of a lotus that blooms into a flower by her shoulder, an iconography that is specific to representations of the White Tara.

Newar artists were renowned for their excellent mastery of bronze, and especially the lost wax technique. The artists from this region generally used a high volume of copper in their bronze alloy, resulting in the famous russet tone that is often visible on the backs of sculptures.

27i llU s TRAT ion To A R A si KAPR i YA s ER i E s: K R is H nA sEATE d W i TH R A d HA ATTR i BUTE d To P URKHU

Kangra, India

Circa 1820

Opaque watercolor heightened with gold on paper

Image: 24,8 cm x 16,5 cm Folio: 33 cm x 23,2 cm Provenance: Royal Mandi collection Private English collection Price on request

Obje CT P R e S en T ed by: Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The iconic lovers gaze into each other's eyes, Krishna's hand barely grazing Radha's dress as she pinches her dupatta in her right hand. Two sakhis (companions) converse nearby. In the background, lush foliage emerges over the terrace walls. Among the branches sit two birds, resting under a vibrant pink and orange sky framed by undulating clouds. A line of black Braj Bhasa above reads “saatvik ki kriti udaharan” (an example of an involuntary expression of emotion), folio number ‘305' in the upper left corner; the reverse with ‘12ll.' This refers to the eight involuntary expressions of emotions, as listed by Keshav Das: expressions of “stupor, trembling, speechlessness, pallor, tearfulness, perspiration, thrill and fainting.” (M.S. Randhawa, Kangra Paintings on Love, New Delhi, 1962, p.51). The verso is inscribed with a verse from the Rasikapriya in alternating red and black script:

O foolish girl! Abandon all your desires and do not get your heart on fire. Radha and Krishna are the ideal romantic couple, better than Rati and Kama. Even Parvati cannot sow discord between them, and it would be foolish of Saraswati to come in between them. The two of them are of the same mind, they share the same thoughts and have one breath. They may appear two in body but are united by their eyes. 15.9 (translation by Dr. Harsha Dehejia)

This is likely a conversation between the two sakhis, one warning the other not to covet the handsome Krishna or attempt to come in between the couple. Watching the two together, she speaks to the divinity of Radha and Krishna's love, which reaches higher heights than even that of the gods. Not even the god of love himself, Kama, can compete with the depth of their love–and who could, when the union of Radha and Krishna is one and the same as the union of the soul with god?

28i llU s TRAT ion To A R A si KAPR i YA s ER i E s: B EAUTY o F R A d HA

Bundi, India

Circa 1680

Opaque watercolor heightened with gold on paper

Image: 28,9 cm x 14,9 cm Provenance: Michael Goedhius Colnaghi Oriental, London.

Acquired from the above by Francoise et Claude Bourelier, Paris, 18 February 1987. Artcurial, Paris, 12 May 2015, lot 292. Price on request

The present painting is an illustration of the court poet Keshav Das' love poem, the Rasikapriya. The popular treatise, which explores the notion of ideal lovers, was composed in 1591 for his patron, the Raja of Orchha. Radha and Krishna are inserted into these narratives revolving around love to serve as the nayika and nayak (heroine and hero). This scene, identified as folio number 266, is centered around the beauty of Radha. Similarities to the Chunar court Ragamala series, one of the early products of an apparent Mughal influence in Rajasthan (created around the time the Rasikapriya was authored) are evident: a vertical format, colorful architectural elements with white roofs, and carefully-executed landscape elements. Such qualities point to the Bundi origin of this painting as it was the next home of the likely-commissioner of the Chunar Ragamala series, Ratan Singh. The expressive facial features differentiate this seventeenth-century Bundi painting from the earlier Mewar paintings Bundi artists imitated, wherein flat figures and bold lines prevailed.

Obje CT P R e S en T ed by:

Kapoor Galleries

M.: + 1 (212) 794-2300

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29lAK s H mi m A ss A ging THE

FooT o F v is H n U

Kangra, India

Circa 1810-1820

Opaque watercolor heightened with gold and silver on paper Painting: 23,3 cm x 15,8 cm Folio: 28,5 cm x 21 cm Provenance: Private Canadian collection Price on request

Obje CT P R e S en T ed by: Kapoor Galleries M.: + 1 (212) 794-2300 E.: info@kapoors.com W: www.kapoors.com

Vishnu or Narayana, looking as young and resplendent as his avatar Krishna, sits crowned and enthroned on a green throne seat. His four arms carry the usual attributes of Vishnu – mace, lotus, conch and discus. laskshmi crouches before him reverencing his left foot – his right is raised up and placed on the throne in the traditional posture of royal ease adopted by divinities, maharaja-lilasana. Vishnu's posture is a somewhat daring exercise in converting to a perspective view from the side, a composition always seen from the front in earlier sculpture and painting. Behind the throne stands a young woman with a chowrie and the white cloth signifying royalty. The divinity is here treated exactly like a raja, enthroned on a terrace with dishes awaiting his pleasure. Two baluster columns enclose the scene, their linking arch half hidden by a textile blind, while instead of a landscape there is beyond the terrace a gold ground sky streaked with orange and with rolling clouds. This painting is a later version of an original of 176570 formerly in the collection of Gloria Katz and Williard Huyck, sold at sotheby's New york, 22 march 2002, lot 49, and now in the Benkaim Collection, Los Angeles. Portraits or scenes viewed through an arched opening had become a commonplace of Guler painting from the 1750s. A portrait of Raja Govardhan Chand smoking a hookah, circa 1750 (Archer 1973, Guler 24), employs exactly the same type of pillar and capital with acanthus leaf molding as does our painting here. A golden sky frames the figures with rolling colored clouds and garish streaks above, while a rolled up blind closes the scene at the top. The vividly coloured sky is also found in Basohli painting at this time (Archer 1973, Basohli 25-26) and reflects influence from Mughal painting both from Delhi and Avadh, possibly brought back to the hills after Nainsukh's pilgrimage with his new patron Raja Amrit Pal of Basohli to distant Puri in 1763. A lady smoking a hookah on a terrace has exactly the same kind of arched format and background as ours (Losty 2012, no. 17). For an almost identical painting from the Galbraith Collection, see Welch & Beach 1965, no. 77.

30KRisHnA dAnCing on KAliYA

Chola, India 10 - 12th century Bronze Height: 11 cm Price. 15.000 USD

Obje CT P R e S en T ed by: Sue Ollemans

M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

The Cholas came to power between the 9th and the late 13th Centuries.

Their kings, based in Tanjore (Thanjavur) ruled over most of South India, Sri Lanka, the Maldives and parts of island of Java in Indonesia.

The Chola were active patrons of the arts. During their reign poetry, drama, music and dance flourished. They also constructed enormous temple complexes decorated inside and out with sculptured and painted representations of the Hindu gods.

By the 10th Century, the representations of deities were taking part in a variety of public roles like those of a human monarch. Large bronze images were therefore created to be carried outside the temples during daily rituals, processions and temple festivals. The smaller sculptures were used in households as objects of private devotion. `

This bronze was cast during the 10 – 12th Centuries at the height of the Chola Empire. It shows the god Krishna dancing on the body of the Naga serpent Kaliya. Krishna is the eight avatars of Vishnu, the preserver of the universe.

It is finely detailed, Krishna`s right hand is in the abhaya-mudra gesture of protection, while with his left hand he is triumphantly holding the tail of the snake the five hooded Kaliya has his hands held in the anjali mudra, the gesture of respect and worship.

Krishna in this depiction still a young cow herd has been called upon by the villagers to subdue the serpent king Kaliya in the Yamuna River. With his superhuman powers, Krishna tamed the serpent. He is depicted as dancing on the body of the serpent; Realizing that Krishna was an incarnation of Lord Vishnu himself, he begged for forgiveness and promised never to torment anyone again. Krishna forgave him and told him to go back to his family, never to return.

31A RARE ETCHEd CARnEliAn And gold BEAd nECKl ACE

South India

16 – 17th century Length: 44 cm Price: 5.000 USD

Obje CT P R e S en T ed by: Sue Ollemans

M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com

A Rare gold necklace of etched carnelian beads found in the Samon River area mounted with 23 varying gold beads of shakra form. The central bead portraying the Sun or Surya set with a cabochon ruby in the centre, Feet of Vishnu, Conch Shells, Dharma Wheel

The eight-spoked wheel represents the aspects of the Noble Eightfold Path, said to lead one out of the cycle of rebirth. In some early Buddhist sites, the wheel served as a symbol of the Buddha himself.

A right-turning white conch is sacred to both Hindus and Buddhists as one of the eight auspicious symbols. It represents the sound of the Dharma, the teachings of the Buddha

lord Vishnu's feet are believed to contain many symbols like the conch, fish and disc — to remind us of many things. Fish cannot live without water, just like devotees without the Supreme. Being. In many spiritual traditions, it is believed that the body and soul are connected and even embodied in the soles of the feet.

32AvA lo K i TE s H vARA PA dm APA ni "l oTU s Hold ER"

North India

Circa 12th century Bronze Height: 11,5 cm Provenance: Nyingjei Lam collection Price : SOLD

Obje CT P R e S en T ed by: Hollywood Galleries T.: +852 2559 8688 E.: hollywoodgalleries@gmail.com W.: www.hollywood-galleries.com

Padmapani is commonly known as the 2-armed form of the deity of compassion, Avalokitesvara. Padmapani holds a lotus stem in his left hand and the full lotus emerges at his shoulder. He is standing on double lotus and in front of an unusual halo.

E AR lY C H in E s E s CU l PTURE o F THE

B U dd HA China

Six Dynasties

4th - 6th century Bronze 8 cm (h)x 4 cm (w)x 2 cm (d)

Provenance: Private French collection French art market (1990s) Price on request

Obje CT P R e S en T ed by: Alexis Renard T.: + 33 1 44 07 33 02 E.: alexis@alexisrenard.com W: www.alexisrenard.com

This small sculpture is a real little gem. It is one of the oldest Chinese representations of the Buddha, dating back to the Six Dynasties period, which corresponds to the expansion of Buddhism into China. Here, the ‘Awakened one' is seen seated with his hands folded in dhyana mudra (gesture), the folds of his robe gently draped over his lap, and a facial expression that is both serene and powerful.

While the iconography of this charming sculpture corresponds with classic Chinese Buddhist sculpture, it is also heavily influenced by the Gandharan statuary of the same period, as evidenced by the posture, draped clothing and the rectangular base flanked by two felines. Indeed, all of these elements can be found on the small sculptures that were carried by the Indian Buddhist monks who ventured into China.

A sculpture of the same group is held in the collections of the Asian Art Museum in San Francisco. It is the oldest known representation of Buddha from China, dated 338 (B60B1034).

Another emblematic sculpture of this period, which is representative of the influence of Gandharan art, is held in the collections of the Harvard Art Museums (1943.53.80.A).

A very similar representation of Shakyamuni Buddha of almost identical size, formerly in the Sakamoto Goro collection, was sold in 2016.

A PA i R o F C H in E s E v E lv ET PA n E ls

China

qing dynasty (1644 – 1911) 18th century

Woven cut and uncut velvet silk

Height: 267 cm and 260 cm Width: 64 cm

Provenance: Private collection, USA Price: 6.000 USD

Obje CT P R e S en T ed by: Alan Kennedy M.: + 1 646 753-4938

E: kennedyalan@hotmail.com

W: www.alankennedyasianart.com

The weaving of velvet textiles is a complicated process, necessitating a complex loom and utilizing thin rods that allow for the creation of the pattern by means of supplementary warps that are either cut and or uncut. Velvet textiles require abundant silk threads, and are costly to produce.

These two velvet panels are yellow in color, and large in scale, indicating that they might have been for imperial use, in that yellow was the color traditionally reserved for the imperial family in China. Within the long rectangular compartment at the upper part of each panel are birds, trees, rocks and plants. One of the trees is a magnolia, and the other a so-called "Buddha's hand" tree. The lower compartments of each panel are patterned with rocks, flowers and plants. The motifs in upper compartment differ from panel to panel, as do those of the lower compartment. A type of dragon known as chilong in Chinese is a repeating motif that appears in the other borders and intermediary bands of each panel.

The panels may originally have been mounted on a wooden screen that contained other such velvet textiles, perhaps up to twelve panels in total.

35h ayagrīva

Northern China 17th century

Gilded bronze Height: 22 cm Provenance: Private collection, France Price : 88.000 euros

Obje CT P R e S en T ed by: Christophe Hioco

M.: +33 (0) 1 53 30 09 65

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

In Hinduism, Hayagriva, “The Horse-headed One”, is a term designating two characters linked to the Vishnu tradition. Hayagriva is the name of a demon slain by Vishnu during the mythical Taraka battle. According to relatively recent speculation, he was reincarnated as Kesin, the youngest brother of Kamsa, thereby becoming a majestic part of the Krishna legend. Vishnu himself, in a form with a horse's head, promulgates the Vedas. In this frightening form, sometimes considered as one of his avatars, he exterminates certain demons such as Madhu and Kaitabha.

The exact link between the Hindu Hayagriva and the divinity of the same name in Tantric Buddhism is not known. In Mahayana Buddhism, the horse Balaha, the salvatory aspect of the bodhisattva Avalokiteshvara, is the object of a pious legend. Developments specific to Buddhism arising from this particular animal emanation might explain the relationship between Hayagriva and Avalokiteshvara. In Japan, Shingon tradition would seem to corroborate this hypothesis. Hayagriva (Bato Kannon in Japan) is considered as one of the six main avatars of Avalokiteshvara (Kannon). The Hayagriva cycle was first preached in Tibet in the 11th century by Atisa (circa 982-1054)

Hayagriva, a minor deity, became the focus of most of the horse-based cults that Buddhism encountered during its eastward expansion. In Tibet, this god was venerated by horse merchants, apparently due to his iconography alone and not because of the rare legends that were attached to him. His cult is especially widespread in Mongolia, the horse culture par excellence.

In Tibet, this paradoxical god is now studied only rarely. However, hs is present in three specific contexts. His horse-headed aspect links him to the

wind-horse Rlung-rta reproduced on many prayer flags. These wood-cuts printed on fabric are hung on masts, to float in the wind and thereby sanctify an area. This marvelous horse, bearing jewels, intercedes between the earthly world and the world of the gods. Hence he helps transmit the prayers of believers and makes magical incantations more effective. The links between Hayagriva and Rlung-rta do seem to have arisen later on, the fruit of popular beliefs born out of pious confusion. Rlung-rta probably originated in the white horse of Indra, the king of the gods, named Uchaishravas, one of the seven treasures of the Universal Sovereign.

In certain texts such as the Padma thang-yig, one of the classics of rNying-ma-pa literature telling the legendary story of the holy Padmasambhava (8th century), Hayagriva wins out over the terrible Rudra, the demonic version of the Hindu Shiva. In other traditions, this role falls to the bodhisattva Vajrapani. That explains the evocation of Hayagriva in certain exorcism rituals. His neighing is said to scare off demons. Thus many ritual daggers (Phur-bu) are adorned with one or more heads of Hayagriva (Huntinton, 1975, p. 24-25, fig. 29-31). Hayagriva has many aspects. A horse head on the top of the skull makes it possible to identify him without question, regardless of the number of heads or arms.

In one of his works, the fourth Panchen Lama, blo-bzang bstan-pa'i nyi-ma (1780-1852), names this avatar with three faces and six arms Khro-bo rgyal-po rta-mgrin, “Hayagrīva, the lord of the krodha”. The statuette here presents a few variations on this canonic aspect. For instance, it has only one horse head above the skull's diadem instead of the three prescribed by the Panchen lama. The first hand on the right holds a sword whose pommel is still perfectly visible and the third holds the “diamond-thunderbolt” (vajra). The lower hand on the left, perfectly visible, holds a cord made of human intestines and the third is making the gesture of vigilance (tarjani mudra). The attributes of the second hands, both right and left, respectively holding the trident and the arrow, are replaced here by a cord (pasha). With his eight feet, the god is trampling nests of serpents.

By their expressive and inventive nature, angry

representations of deities constitute the most original aspect of Tibetan art. The menacing vision here contrasts with especially refined decoration, which is assumed to be characteristic of northern chinese workshops under the reigns of the first two qing emperors, expecially Kangxi (reigned 1661-1722), a period of renewed and active patronage. This work fits into the same aesthetic context as a savara in the Asian Museum of San Francisco (Rhie-Thurman, 1991, p. 278-279, n° 102) and to a lesser extent a Buddha in the Hermitage in Saint-Petersbug (Rhie-Thurman, op. cit., p. 84-85, n° 5).

36STanding b uddha

Ancient province of Gandhāra

Northern Pakistan

Circa 3rd century Schist

Height: 53 cm

Provenance: Private collection, France Price: 20.000 euros

Obje CT P R e S en T ed by: Christophe Hioco M.: +33 (0) 1 53 30 09 65

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

This is a sculpture representing the standing Buddha, from the ancient region of Gandhāra (Afghanistan, Pakistan). The Blessed One is recognisable by his monastic costume covering both shoulders here, and the circular mandorla behind his head; but above all by the laksana, distinctive marks or signs of the Śākyamuni Buddha, notably the cranial protuberance (usnīsa), the tuft of hair between his eyes (ūrnā) and his distended earlobes, revealing his former wealth. The figure's arms and legs are fragmentary, but he would have been sketching the gesture of fearlessness (abhaya mudrā), palm facing outwards, fingers outstretched, with his right hand. This iconography is conventional for representing the historical Buddha and becomes fixed in the early centuries of our era, when the anthropomorphic representation of the Buddha appears. This statue is characteristic of the art of the Gandhāra region in its drapery with concentric folds, which is a Hellenistic influence, testifying to the exchanges and contacts of civilisations. Furthermore, the bun with wavy locks may be a Parthian influence. The round and full face, of great gentleness and serenity, the half-closed eyelids, the straight nose, the small fleshy mouth as well as the use of grey schist testify to an art with multiple influences and perfectly mastered in its making.