J uly a R t WORK s
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Buddha Śākyamuni
Ancient Gandhāra region
3rd-3rd century
Schist
Height: 66 cm
Provenance:
Private Japanese collection, since 1980
Private English collection since 2003
Price on request
Obj EC t Pr ESE nt E d by: Christophe Hioco
T: +33 (0) 1 53 30 09 65
E: info@galeriehioco.com
W: www.galeriehioco.com
The Śākyamuni Buddha
This superb sculpture comes from the ancient region of Gandhara (Afghanistan, Pakistan), and represents the Buddha standing. The Blessed One can be recognized by his monastic costume covering both shoulders here, and the circular mandorla behind his head; but especially by the lakṣa a, distinctive marks or signs of the Śākyamuni Buddha, including the cranial protuberance (uṣ īṣa), the tuft of hair between the eyes (ūr ā), and his distended earlobes, revealing his former wealth. The right arm is fragmentary, but his hand would have been sketching the gesture of fearlessness (abhaya mudrā), palm facing outward and fingers extended. This iconography is conventional for depicting the historical Buddha and becomes fixed in the early centuries of our era, when the anthropomorphic representation of the Buddha appears.
An art at the crossroads of civilizations
This sculpture is characteristic of the art of the Gandhāra region, notably by the drapery with concentric folds, held in one hand by the Buddha, which shows a Hellenistic influence testifying to the exchanges and contacts of civilizations. This is what the historian Alfred Foucher has established as Greco-Buddhist art: a syncretic art born in Gandhāra, thanks to the encounter between the Greek, Persian and Indian worlds, notably through the caravan trade and the Silk Road. We thus find all the characteristic qualities of this region, combining the finesse of Hellenistic realism and the iconographic codes of the Buddhist religion.
A remarkable know-how
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 schist testify to an art perfectly mastered in its making, underlined by its excellent state of preservation. This remarkable sculpture probably took place in one of the two spaces of Gandhāra monasteries: a courtyard accessible to devotees and cluttered with all sorts of exvoto monuments, such as reliquary mounds (stūpa) and chapels, and, beyond that, a space reserved for monks only. It is therefore a unique and powerful work, carrying a thousand-yearold history.
a la R ge stu CCO H and OF Budd H a
Gandhara
3rd century
Height: 38 cm
Provenance:
Japanese collection, acquired in 1990s
Christie’s New york, Indian and Southeast Asian Art, 16 September, 2008, lot 325
Publication: Himalayan Art Resources, item number 1324.
Price on request
Obj EC t Pr ESE nt E d by:
Kapoor Galleries
T.: + 1 (212) 794-2300
E.: info@kapoors.com W: www.kapoors.com
Finely casted, the present sculpture of Buddha’s right hand with all five fingers extended in Abhaya Mudra (gesture of fearlessness) with fine detailed creases in his palm and fingers consisting of red pigment remains overall. A symbol of reverence, the hand here stands for Buddha himself. It also brings to attention the paramount significance of Mudras in Buddhist art and in the Buddhist religion at large. Mudras are a set of hand gestures symbolizing Buddha’s various roles and states of mind. Mudras have often, if not always, been pedagogical tools used to refashion Buddhist religious doctrine into comprehensible symbolic narratives.
Buddhism reached Gandhara in the third century B.C. The present sculpture from the same time period makes it a coveted object from the origins of Gandharan Buddhism.
a g R ay s CH ist
F igu R e OF a seated
B O d H isattva
Gandhara
2nd/3rd century
Blue gray schist
Height: 63,5 cm
Provenance:
Sotheby’s New york, 20 March 1997, lot 47
Sotheby’s New york 20 March 2013, lot 267
Publication:
Himalayan Art Resources, item number 1322
Price on request
The Buddha is seated in dhyanasana with a serene face and the marks of nobility encircled in a halo, with his hands clutching his necklace. The robe drapes over one shoulder, undulating in high relief across the torso, gathering in a fold over the legs and falling over a cushioned seat.
This image of the Buddha clad in robes of draping folds and seated with his hands gently resting in his lap epitomizes the classical style of sculpture coming from the ancient region of Gandhara. Spanning from the 1st through the 5th centuries C.E., the ancient region of Gandharan comprised the northwestern part of the Indian subcontinent and held a vital political and cultural position along the Silk Routes.
The long and dynamic history of the region included epic conquerors, including Darius (550-486 B.C.E.), Alexander the Great (356- 323 B.C.E.) and Menander (342/41 -290 B.C.E.), all of who expanded the Hellenic worldview across the territory. In 60 C.E., when the Kushans conquered the region, their political and economic prowess combined with the refined philosophies of the local Indic Buddhist religion marked an apex of political, religious and cultural syncretism for nearly four centuries, largely influencing distant regions in both Central Asia and China.
Obj EC t Pr ESE nt E d by:
Kapoor Galleries
T.: + 1 (212) 794-2300
E.: info@kapoors.com
W: www.kapoors.com
The Greco-Roman style, characterized by a symmetry of form, blended seamlessly with the spiritual philosophies of the Mahayana Buddhists. The ideals of human beauty and proportion within the Classical world were easily assimilated to the religious aims of the Mahayana Buddhists, whose ultimate nirvana lay in their practices of selfless service to humanity. At the heart of these teachings was the example of the Buddha, who achieved enlightenment and dedicated his life thereafter to teaching others the path to attain nirvana.
The seated Buddha is the most iconic image of the Gandharan artistic canon, integrating the proportions of the Classical style with the internal meditative equilibrium achieved by Shakyamuni Buddha. The waves of hair rising into a prominent top-knot, the almond-shaped eyes and rounded face framed in a halo, the fall of the drapery over the body and legs, the restful posture of meditation, all seen in this fine example, are hallmarks of Gandharan style.
ajitanātha
Gujarāt, Western India
11th-12th century
White marble
Height: 77 cm
Provenance:
Private collection, Luxembourg, formed from the 1980s
Price on request
Obj EC t Pr ESE nt E d by: Christophe Hioco
T: +33 (0) 1 53 30 09 65
E: info@galeriehioco.com W: www.galeriehioco.com
Jainism, an Indian religion predating Buddhism Jain sanctuaries have countless depictions of the Tirtha kara, also called jina, omniscient beings who have broken free from the cycle of reincarnation. These extraordinary characters, of which there are twenty-four, existed down through the ages and are responsible for transmitting the foundations of Jain doctrine through the centuries. This doctrine predates Buddhism and one of its fundamental principles is non-violence (ahi sā), which applies to all creatures. This impressive stele represents Ajitanātha, the second of the twenty-four Jina.
Ajitanātha, the invincible master Ajitanātha means ""invincible"", he is the one who “never succumbed to material comforts or temptations, and was never defeated by heretics” (see Norton Simon Museum, notice M.1998.1.S). He stands in a pose that is proper to jainism, called ""kāyotsarga"": standing with his arms stretched out along his body, without touching it. The śrīvatsa, an auspicious symbol, is carved in the middle of his chest. Because he wears clothing, this Jina can be associated with the jain order called Śvetāmbara. under his feet, engraved on the base, we recognize his symbol, an elephant.
Divine Assembly
In the upper part, two elephants anoint the goddess Mahālakṣmī, also called Śrī, shown in the centre. They honoured Ajitanātha in the same way. This iconography refers to the abhiṣeka of Śrī, a devotional activity consisting in bringing blessing through the pouring of sacred water. This is a particularly auspicious theme common to Hinduism, Buddhism and Jainism. In the register directly below, the figuration of vidyādhara and gāndharva reinforces the positive character of the scene. Holding a lotus flower here, the vidyādhara are beings with magical powers living in a wonderful world and celebrating the deities by throwing them jewels or garlands. Their consorts make a gesture of approval with their right hand and were probably holding a vī ā, an Indian musical instrument. They could therefore be two gāndharvī, celestial musicians beings. On either side of the Jina at his feet, two divine attendants accompany him, while a donor sits on his left as a prayer. In the register above, a majestic leogryph evokes the uprights of the divine thrones.
Jainism, a popular religion in Western India
The piece is characteristic of the medieval period in Gujarāt, in Western India, and its decorative refinement is quite remarkable. The side columns give a lot of elegance as does the lotus of the base, and the openwork is exceptional. In medieval times, Jain sculptors preferred white marble over all other stone because of its pure color. This is demonstrated by the many vast temples built on hilltops, as a destination for pilgrimage, such as Pārśvanātha in Gujarāt or Ranakpur and Mount Ābū in Rājasthān.
Śiva naṭarāja
Northern India
Pratīhāra period
Circa 11th century
Red sandstone
Height: 63 cm
Provenance:
Private English collection
Price on request
Obj EC t Pr ESE nt E d by:
Christophe Hioco
T: +33 (0) 1 53 30 09 65
E: info@galeriehioco.com
W: www.galeriehioco.com
The destructive dance of Śiva, a fundamental mythological episode
This magnificent stele dated to the 11th century depicts Śiva Na arāja, in the pose known as chatura-tā ava. This is a dance of cosmic destruction, which, despite its terrible nature, allows the renewal of the universe. The god treads on the demon of ignorance (apasmāra puruuṣa) with his right leg, while his left leg is half raised. This image of trampled ignorance symbolizes the liberation of souls and the path to salvation for beings. Śiva as Na arāja represents the cosmic dancer; he is the master and source of all forms of dances at the origin of primitive chaos.
Special attention to adornment
Śiva’s hair is styled in ja āmuku a, the ascetic’s bun. A thin scarf surrounds the waist. He wears a tiara, several earrings, a train of flowers on each shoulder, a necklace, spiral bangles, rings and anklets. Śiva’s stoic face connotes his neutrality and the flames surrounding him represent the universe.
Siva’s specific iconography
Śiva’s uppermost right hand holds a small drum whose shape resembles an hourglass (re ugarbha), which represents the primordial meaning of creation. The specific hand gesture (mudrā), called amaru-hasta, is used to tap the drum. It symbolizes the sound giving origin to creation and the beating of the drum its passage through time. The lower left hand holds an akṣamalā (rosary) made of a rudrākṣa which symbolizes concentration. Rudrākṣa mālā was used by Hindus and Buddhists as a rosary at least from the tenth century onwards for meditation as well as to sanctify the mind, body and soul. Śiva’s middle left hand makes the gesture of fearlessness (abhaya mudrā) with a snake coiled on the forearm. This iconography invites the devotee not to fear this terrible dance of destruction.
An admirable play on relief in the service of a transcendent symbolism
The evocative power of the god’s supple plasticity, in parallel with his serene face, is intended to create a reassuring image for the faithful who contemplate it. This work bears witness to the symbolism of Śiva in his supreme role for his devotees, as the origin of all things. The symbolic significance of this work is combined with the voluptuousness of the body forms and finely carved features. The hemmed lips, the slightly arched nose and the almond-shaped eyes show an admirable mastery of the art of sculpture.
A large oval rounded amulet, the one side inset with rubies and the other incised gold with floral designs. Both ends have a star form inset with rubies.
a g O ld and Ru B y a M ulet
Assam, India
19th century Weight: 32 grs
Length: 5 cm
Price: 4.500 euros
Obj EC t Pr ESE nt E d by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
One of the bracelets is slightly twisted, the other one straight which gives the pair a delightful expression. Excellent condition.
Pai R OF su P e RB C H ild R en’s B R a C elets
Java, Indonesia
Bronze Age
Circa 2nd century BC – 2nd century AD
Bronze, with an exquisite jade-green patina
Diameter: 7 cm
Provenance:
Private collection, The Netherlands (1970s)
Price on request
Obj EC t Pr ESE nt E d by: Farah Massart
M.:+32 495 289 100
E.: art@famarte.be W: www.famarte.com
These ear pendants are in the shape of an arrowhead. The shape developed from that of a lotus bud.
a Pai R OF v-s H a P ed e a R Pendats
Central Java, Indonesia
8 – 10th century
Price: 4.800 euros
Obj EC t Pr ESE nt E d by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
l a R ge Pe C tOR al Plate
Tanimbar, Indonesia
19th century Gold 12 karat
Diam.: 27,5 cm
Weight: 103 grs
Price on request
Obj EC t Pr ESE nt E d by: Sue Ollemans M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
Circular dish-shaped pectoral of concave form pounded from sheet gold, decorated with a star or sun pattern in the center and spiral patterns on the edges. Pectoral plates were used as prestige objects worn during ceremonies, hanging from the chest.
Popular on Tanimbar Island and profusely used in Maluku, these dishes sometimes display motifs inspired by Chinese porcelain which was widely traded in the area. The eight-point star motif resembles those seen on the tympanum of bronze-age drums. (Carpenter, 2011).
Pai R OF sta R-s H a P ed W a RR i OR’s BR a C elets
Northeastern Thailand
Bronze Age
Circa 2nd century BC – 2nd century
AD or earlier
Bronze
Diameter: 16,8 cm and 19,5 cm
Price on request
Obj EC t Pr ESE nt E d by: Farah Massart
M.:+32 495 289 100
E.: art@famarte.be
W: www.famarte.com
Ra R e B R a C elets W it H
stylized e le PH ants
Northeastern Thailand
Bronze Age
Circa 2nd century BC – 2nd century
AD or earlier
Bronze
Diameter: 8,5 cm and 9 cm
Height of Elephants: 6,3 cm
Provenance:
late Dr.K.Sandmair, Munich (since the 1980s)
Price on request
Obj EC t Pr ESE nt E d by: Farah Massart
M.:+32 495 289 100
E.: art@famarte.be
W: www.famarte.com
d a Ru M a
Japan
Late Edo period
Height: 28 cm
Patina
Price on request
Obj EC t Pr ESE nt E d by:
Brandt Asian Art
M: +44 (0)7774 989 661
E: brandt@nildram.co.uk
W: www.brandtasianart.com
A good keyaki wood carving of a standing Daruma, with a lovely, rich patina. He has a discerning expression, large stylised eyebrows and a splendid etched beard. Holding a long fly whisk over his right shoulder, his other arm tucked into his flowing robes.
a Fine Jingasa W it H
M Ot H e R-OF-Pea R l
‘M O sai C’ d e COR ati O n
Japan
Late Edo Period
Circa 1861 - 1863
Lacquer, wood, leather, mother-ofpearl, gilt
7,5 cm (h) x 37 cm (diam.)
Price on request
The art and industry of lacquering, although well represented in China, has only been fully and exceptionally developed in Japan. It is said that the use of the lacquer juice was known long ago in the days of yamato Daké no Mikoto (71 – 130 AD) who ordered some lacquered toys for his children.
However, advanced techniques of lacquering applied to a wood or textile base first came from China in the 6th century AD when Buddhism and other elements of Chinese culture, including craft techniques, were introduced to japan. At first lacquer was chiefly used in religious sculpture, but before long it became a leading medium of decoration on a wide variety of objects ranging from sword scabbards to boxes for religious garments.
Decorated with three ‘Kamon’ in gold ‘Hiramakie’ of the ‘Toyotomi’ family. The interior decorated with a ‘Tshugaru Nuri’ red lacquer.
Though ‘Hideyoshi’ prohibited the use of both ‘chrysanthemum’ and ‘paulownia’ crests, the ban had little effect and quite a number of ‘daimyō’ used these patterns during the Edo period.
Obj EC t Pr ESE nt E d by:
Finch & Co
W: www.finch-and-co.co.uk
E.: enquiries@finch-and-co.co.uk
T.: +44 (0)7768 236921
a su P e RB t HR ee-C ase in RO
Possibly by Ritsuo
Japan
Second half 18th century
Length: 7,5 cm
Price on request
Obj EC t Pr ESE nt E d by: Zebregs&Röell
+31 6 207 43671 dickie@zebregsroell.com www.zebregsroell.com
The entire ground is a geometric pattern of inlaid pearlshell, inlaid with an inscribed trompe-l’œil lacquer ink cake with inscription including a ‘signature’ Ritsuo with kan seal on one side, a lacquer brush and bone seal carved with a peach on the other. The risers of the red lacquer interiors are decorated with chinkinbori waves. With a coral ojime.
The inro itself appears to be a superior example of a type that originated in the Ryukyu Islands (modern-day Okinawa) and was adopted or their cord runners by the Somada school of lacquerers. But it appears to have been ordered, or adopted, by (a sophisticated follower of) Ritsuo. The clue may be in the decoration to the risers, wich could be the typical of the work of Nomura Chōhei.
The text on the ink cake reads:
“磾｝珋磾籩変｝剢湞磪憟｛剢珋磾籩雰｝剢湞磪 憟剢｝堞剢謾｝観
„Kyoho go kanoe-ne, „Kunshi wa hyohen su, sono bun utsu taru nari“, Ritsuo sei, with the seal Kan“
[Kyoho 5th year in the year of Kanoe-ne (1720), „Gentlemen change like leopards, the glory shines more and his writing is also wise“, made by Ritsuo, with the seal Kan].
C R ay F is H vase
Signed Morimitsu
Japan
Meiji Period
Bronze
Height: 37 cm
Price on request
Obj EC t Pr ESE nt E d by:
Brandt Asian Art
M: +44 (0)7774 989 661
E: brandt@nildram.co.uk
W: www.brandtasianart.com
A heavily cast bronze vase case with a fine quality crayfish and clams, with an overall rich green patina.
BORO CO lle C ti O n
Only offered as a collection
See the entire collection on tmurrayarts.com/boro
Obj EC t Pr ESE nt E d by: Thomas Murray
M.: + 1 415.378.0716
E.: thomas@tmurrayarts.com W. : www.tmurrayarts.com
Boro: A Patchwork of japan’s Past Essay written by Virginia Soenksen
The landscape of Japanese tangible cultural history is a vast one filled with wearable art forms. These range from armor to kanzashi to textiles of all sorts; unsurprisingly, it is the ubiquitous kimono that dominate the latter sphere. While most viewers are accustomed to the gleaming silks and golds of formal furisode and uchikake preserved in museum collections, there is a veritable world of Japanese textiles beyond these garments. The luxury items of the elite are arguably abnormal examples, as they were made for and worn by individuals who constituted less than 5% of the population in pre-modern Japan. The vast majority of the population were members of the working class, the farmers, villagers, and fishermen who sustained the bellies of the nation but who frequently struggled to survive. 1
This backbone of the population would most often be seen in otsuzure おおつづれ (workwear) or noragi 野良着 (field worker’s clothes), utilitarian garments that allowed for greater freedom of movement. Originally made of bast fibers, these handwoven and handmade garments were largely made of cotton by the 19th century. The cost associated with acquiring fabric along with the need to extend the life of everyday garments and protect the wearer from the cold resulted in textiles being patched with cloth scraps and reinforced with quilted stitching. Called boro 襤褸 (rags), these garments demonstrate not only the spirit of mottainai (waste nothing) that typified japanese peasant life but also the eternal human concern of aesthetics 2. An examination of skillful boro patchwork reveals the care with which women approached the
process; this was not a haphazard practice, but rather one that demonstrates the dignity and resourcefulness of the anonymous villagers. Unfortunately, many of these same craftspeople and descendants viewed boro with shame, a sign of poverty to be discarded or used up as quickly as possible. For this reason, very little scholarly attention was paid to boro until quite recently.
Ethnologist and archaeologist Tanaka Chuzaburo (1933–2013) was one of the early champions of these textiles. His private collection of nearly 30,000 folk artifacts— around 800 of which are today designated as Important Cultural Properties—included many examples of boro 3. Along with other Japanese collectors, Tanaka reconstructed the meaning and value of boro as reflections of ‘japanese aesthetics’ and exemplars of folk craft 4. The art form came to the attention of many foreigners thanks to a 1994 exhibition at San Francisco’s Craft and Folk Art Museum titled Riches from Rags: Saki-Ori & Other Recycling Traditions in Japanese Rural Clothing. The curators yoshida Shinichirō and Dai Williams described the exhibition as centering on the “aesthetic of poverty” in which singular beauty could be found within garments that were too often dismissed 5.
Today, boro are frequent guests of museum galleries around the world, offering new perspectives into the lives of people of premodern Japan and encouraging the discovery of beauty in the worn and commonplace. Recently, even the pejorative name has been challenged by scholars, with Tatsuichi Horikiri stating:
I would never call the items in my collection “boro” (rags), no matter how worn out or dirty
they may be, nor would I ever let anyone else call them that. “Rag” connotes a thing that has completed its original purpose or has spent its life—something ready to be discarded, something devoid of value. Seeing and holding these tattered garments used by farmers and villagers in times past, I cannot help but feel that they still exude the warmth and vigor of the bodies they once protected, and these scraps are trying to tell us their stories, provided that we only listen closely and with open hearts.
This collection of boro from Thomas Murray Asiatica Ethnographica includes a variety of types of garments, all of which exemplify traditional Japanese textile arts. Through the aesthetic of poverty, you can explore stories of the past preserved by those who found beauty in the everyday.
Virginia Soenksen is the director of the Madison Art Collection and lisanby Museum at james Madison university. She earned a BA in Psychology from the university of Mary Washington, an MA in Art History from Tufts University, and she is currently a PhD student in Strategic Leadership Studies at James Madison university. She has previously worked at the Fralin Museum of Art, the Ringling Museum, the Clark Center for japanese Art and Culture, and the Frist Art Museum. Her work on educational programming and audiovisual exhibition components earned several awards from the Southeastern Museums Conference and the Tennessee Association of Museums. She has been an invited speaker at the San Diego Museum and the Textile Museum at George Washington university. Her publications include several articles in Textiles Asia, and Textiles of japan: The Thomas Murray
Collection (Prestel, 2019). She is a passionate supporter of Asian art, cross-cultural learning, and museums as agents of change.
1 Sasha Rabin Wallinger, “Mottainai: The fabric of life, lessons in frugality from traditional Japan,” Textile 10, no. 3 (2012): 337.
2 Yoshiko Iwamoto Wada, “Boro no Bi: Beauty in Humility—Repaired Cotton Rags of Old Japan,” Textile Society of America 9th Biennial Symposium (2004): 283.
3 Stuart Taylor, “Something Boro, Something Blue: Collecting Japanese Folk Textiles,” Paper Sky: Japanese Stories, January 11, 2022.
4 Leren Li, “Refashioning repair culture through the circle of value creation: A case study of the Japanese brand KUON,” International Journal of Sustainable Fashion & Textiles 2, no. 1 (2023): 54.
5 Shin-lchiro Yoshida, Dai Williams, Riches from Rags: Saki-Ori & Other Recycling Traditions in Japanese Rural Clothing, San Francisco Craft & Folk Art Museum (1994).
6 Tatsuichi Horikiri, The Stories Clothes Tell: Voices of Working-Class Japan, London: Rowman & littlefield Publishers, 2016: 7.
a Pai R OF hibach i
Attributed to Shibata Zeshin (1807-1891)
Japan
Meiji period
19th century
Mineral pigments
H. 21cm x Diam. 24cm (8½” x 9½”) each
Price on request
Obj EC t Pr ESE nt E d by:
Gregg Baker Asian Art
M: +32 (0) 469 498 489
E: info@japanesescreens.com
W: www.japanesescreens.com
Singed: Zeshin
The awasebako (old wood boxes) inscribed: Imado-tō teaburi (Imado-ware hand warmer)
Inside lid: Meiji yonjū-san nen shigatsu motomu (acquired in April 1910) with a former collector’s signature
Shibata Zeshin, generally considered the greatest lacquer-work artist in Japanese history, based his skills on technical brilliance. Early in his training under Koma Kansai II, he realised that he needed to study other forms of art to build on his technical skills. He travelled to Kyoto where he studied the painting style of the modern Shijo School. At the same time he studied poetry and old paintings and spent a great deal of time with famous scholars such as Rai San’yo, which led to him being known firstly as a painter rather than a lacquer artist. Later in life this rich knowledge enabled him to create lacquer works which were marvelled at for their perfection and wit shown through “iki” (playful chic) and the feeling of rhythm typical of Japanese poetry. He developed several techniques of his own as well as reviving old ones, one of his greatest achievements was the revival of the fine seigai pattern, lost since the 17th century this technique involves combing through wet lacquer before it sets to create a pattern of thin waves.
His trademark techniques include seido-nuri and shitan-nuri, which imitated different materials such as ancient bronze, rosewood, rusty iron and shibuichi. Unusual methods such as scratching a design onto lacquer with a rat’s tooth reveal him as an ambitious but also humorous artist who crossed the boundaries
between materials and subjects with ease.
Combining his skills as a painter and lacquer artist he frequently painted urushi-e (lacquer paintings). An ingenious technician, Zeshin discovered how to prepare and apply a lacquer which was flexible and strong enough to withstand cracking when unrolled or fading when exposed to strong light. Few artists had the skill or patience to use his methods, and the urushi-e (lacquer picture) of the Meiji period is now associated with Zeshin’s name. By 1878 Zeshin’s persistence had resulted in a type of composition on paper using the togi-dashimaki-e method. This type of lacquer design is usually accomplished by first outlining the design on a wooden core, next covering the entire surface with lacquer, and then rubbing the lacquer away in areas to leave the finished composition. On paper, however, this process requires the utmost care since the lacquer base is extremely sensitive and liable to damage.
In 1873 he participated for the first time at the World Exposition in Vienna where he exhibited a lacquer panel depicting Mount Fuji. Although undervalued in Japan until recently, he gained numerous followers in the
West who not only collected his work during Zeshin’s lifetime, but also travelled to japan to meet him in person. Many western museums have his works among their collections and his status is also being steadily re-evaluated in Japan. He was chosen to be a member of the Art Committee of the Imperial Household and became a Court painter in 1890, a sign of the appreciation of his skill as an artist.
Works by the artist can be found in the collections of: British Museum, london; Fogg Art Museum, Cambridge, Ma; Freer Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, New York; Art Institute of Chicago, Ill.; Museum of Fine Arts, Boston, Ma.; Stanford university Art Gallery and Museum, Ca.; Seattle Art Museum, Washington; Brooklyn Museum, New york; Royal Art History Museum, Brussels, Belgium and many others.
VaiśraVaNa
Japan
Kamakura Period 14th century
Dimensions:
Figure: H. 11cm x W. 7cm x D. 4cm (4¼" x 2¾" x 1½")
Figure and wooden stand:
H. 13cm x W. 10cm x D. 6cm (5" x 4" x 2¼")
Figure and metal stand:
H. 25cm x W. 13cm x D. 6.5cm (9¾" x 5" x 2½")
Price on request
Obj EC t Pr ESE nt E d by:
Gregg Baker Asian Art
M: +32 (0) 469 498 489
E: info@japanesescreens.com
W: www.japanesescreens.com
A bronze figure of seated Bishamonten (Vaiśravana) with a fierce expression, wearing armour and holding a pagoda in his left hand, with a wooden stand and a modern metal stand
This figure was originally mounted as a kakebotoke (hanging Buddhist image), which are generally circular votive plaques symbolising mirrors which represent the sacred body of kami (Shinto deities). They originate from the practice of Shinbutsu-shugo (syncretism of kami and buddhas) which was established in the Heian period. One of the few forms of Buddhist art unique to Japan, they can be found both at Shinto shrines and Buddhist temples and are presented as offerings to safeguard the compound and to ensure the prosperity of the Buddhist faith. In the Buddhist context they were hung from the eaves above the main entrance to an Image Hall, or above the frieze rail between the outer and inner sanctums of the shrine for the deity that protected the temple compound. They may also be used to represent hibutsu (hidden Buddha) which are not generally on show to the public.
Bishamonten originated in ancient Indian mythology as Kubera (Jp.: Kubira). He is the most powerful of the Guardians of the Four Directions (Shitenno, Four Heavenly Kings) and is the Guardian of the North quarter and as such is known as Tamonten (listens to Many Teachings), he alone amongst the four is worshipped independently.
Bishamonten is the god of war and warriors and a dispenser of wealth and good fortune. He is considered a god of healing, with the power
to save Emperors from life-threatening illness and to expel the demons of plague. He is also one of the Twelve Heavenly Beings (Juniten) and one of the Seven Gods of Good Luck (Shichifukujin).
His fierce expression and armour visually convey Bishamonten’s military role while the pagoda, with its South Asian origin as the funerary monument which enshrines the corporeal remains of the historical Buddha, symbolises the Buddhist teachings that he protects as well as being a reference to relic worship and reliquaries.
Kakebotoke of Bishamonten are far less common than those of Amida Buddha. For other examples of kakebotoke figures, see:
Anne Nishimura Morse et. Al. eds., Object as Insight, Japanese Buddhist Art and Ritual, Katonah Museum of Art, p. 46-47, pl. 9/10.
Nara National Museum, Bronze Sculpture of the Heian & Kamakura Periods (Special Exhibition), (Kyoto, 1976), p. 49-53
For more about kakebotoke and further examples, see Naniwada Toru, Nihon no bijutsu (Art of Japan), No. 284 Kyozo to Kakebotoke (Votive Buddhist mirrors and plaques), (Tokyo,1990).
Pai R OF Wate RCO l O u R s
China
19th century
62 cm x 38 cm & 60 cm x 35 cm
Price on request
Obj EC t Pr ESE nt E d by:
Brandt Asian Art
M: +44 (0)7774 989 661
E: brandt@nildram.co.uk
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A large pair of watercolours, on paper, depicting caricatures of Sepoys, and British infantry, forming a marching band surrounding a mounted officer, the second troop sporting red uniforms, mounted on piebald horses and pulling a large canon. This amusing group is certainly by a Chinese hand.
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Revanta
Nepal
Dated 788/1668 AD
Copper alloy
Height: 10 cm
Provenance:
Dutch private collection
Price on request
Obj EC t Pr ESE nt E d by:
Hollywood Galleries
T.: +852 2559 8688
+852 2541 6338
E.: hollywoodgalleries@gmail.com
W: www.hollywood-galleries.com
This dated copper alloy sculpture of Revanta, the son of Surya, the Sun God, a prominent figure in Hindu mythology, is associated with horsemanship, hunting, and martial prowess.
The sculpture portrays Revanta in a dynamic pose, mounted on a horse. His one hand holds a sword, symbolizing his warrior nature, while the other hand grasps a horse lasso, representing his equestrian skills. This depiction highlights his multifaceted persona as a skilled warrior and horseman.
Revanta’s character is mentioned in various ancient texts, including the Mahabharata and the Puranas. According to legends, he played a role in assisting the gods during battles and was admired for his valor and courage.
The lotus base on which Revanta stands adds a touch of elegance and symbolism to the sculp-ture. The lotus, a revered flower in Hinduism, represents purity, spiritual enlightenment, and divine birth. The inscription at the bottom of the base, dating the sculpture to 788 Nepalese year or 1668 AD, provides valuable historical context and helps trace its lineage. It indicates the significance of the artwork during that period and its connection to the artistic traditions of Nepal.
Budd H a Tibet
14-15th century
Gilded silver
Height: 7,5 cm
Provenance:
European private collection acquired from Benny Rustenburg Dutch collection in 2001
Price on request
Obj EC t Pr ESE nt E d by: Hollywood Galleries
T.: +852 2559 8688 +852 2541 6338
E.: hollywoodgalleries@gmail.com
W: www.hollywood-galleries.com
The rare and precious gilded silver statue of a Buddha from the 14th to 15th century is a remarkable and highly sought-after work. Early silver statues from the Himalayan region are exceptionally rare due to historical circumstances that led to the melting and sale of many such objects as common silver.
The survival of this statue suggests that it was well-preserved and protected by Tibetan monks or devoted Buddhists who recognized its sacred value. The gilded silver construction highlights the exquisite craftsmanship and artistic skill of the time. Its rarity and historical significance make this statue a prized treasure for collectors and enthusiasts of Buddhist art and culture.
The bottom of the gilded silver statue is consecrated and sealed, enhancing its spiritual significance. It is adorned with a crossed dorje copper plate, faintly gilded, adding an additional layer of sacredness to the artifact.
Bla CK Ja MBH ala
Tibet
Circa 13th century
Copper alloy
Height: 6,7 cm
Provenance:
Tresors d’Asie Paris, 2011
European private collection
Price on request
Obj EC t Pr ESE nt E d by: Hollywood Galleries
T.: +852 2559 8688 +852 2541 6338
E.: hollywoodgalleries@gmail.com
W: www.hollywood-galleries.com
Black Jambhala, also known as Black Kubera or Black Dzambhala, is a deity in Tibetan Buddhism associated with wealth, abundance, and prosperity. This miniature size of solid cast in high-copper alloy, bears the cherished marks of devoted Buddhists through the visible signs of wear and touch. These worn elements speak to the statue’s significance as an object of veneration and devotion.
The frequent handling and touching by devoted practitioners have left their trace on the surface, creating a patina and smoothing certain areas. Each mark and worn spot represents the countless moments of connection, prayer, and reverence by those who have sought blessings and guidance from Black Jambhala.
This tangible evidence of devotion adds to the statue’s authenticity and imbues it with a sacred energy. It becomes a conduit of spiritual connection, carrying the prayers, hopes, and aspirations of those who have interacted with it.
a s M all BRO nze
F igu R e OF vaJR asattva
Tibet
14th century
Height: 9 cm
Provenance:
Cees van der Plog, 1995, by repute Bonhams Hong Kong, 2 Oct 2018, lot 132
Publication: Himalayan Art Resources (himalayanart.org), item no. 61643. Price on request
Vajrasattva or ‘The Vajra Being’ is a direct embodiment of the adamantine dharma of Tibetan Buddhism. He holds a vajra or dorje in his proper-right hand, symbolizing his mastery of Tantric Buddhist method, and a bell or drilbu in his left to indicate his primordial wisdom. Vajrasattva is the ultimate teacher and has immense purification power.
While this bronze sculpture of Vajrasattva is petite in size, it is aesthetically powerful: with a soft face, lifted chest, and lifelike hands and feet. By the twelfth century, Tibetan artists mastered bronze casting technology as sophisticated as that of the Pala Empire, and by the fourteenth, Pala artists were no longer active in Tibet (von Schroeder, Buddhist Sculptures in Tibet, Vol. II: Tibet & China, Hong Kong. 1990, p. 1092). This present sculpture demonstrates how the latePala style of northeastern India was absorbed into a centralTibetan style that defined the ‘Monastic period’. The simple three-petal diadem with flared ties at the ears securing the flat band at the back of the head is typical of this sculptural milieu.
Obj EC t Pr ESE nt E d by:
Kapoor Galleries
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tH ang K a de P i C ting s add H a Mila R e Pa
Tibet
18th-19th century
Mineral pigments
Framed: 69 cm x 100,5 cm
Provenance: josé M. Neistein
Publication:
Himalayan Art Resources, item number 1318.
Price on request
Obj EC t Pr ESE nt E d by: Kapoor Galleries
T.: + 1 (212) 794-2300
E.: info@kapoors.com W: www.kapoors.com
Religious Art in Tibet is usually classified into three major broad categories: murals in temples and monasteries, manuscripts and cloth paintings – Thangkas. A Lama (most likely Milarepa) seated in a contemplative posture is revered and offerings are made to him by attendants, kings and saintly beings. Buddhist Arhats (elders) and Lamas (teachers) are typically dressed in monastic robes, emphasizing their renunciation of worldly attachments and commitment to the Buddhist path.
The muted red nimbus surrounding Milarepa symbolizes his spiritual enlightenment. The kingly figure at his feet makes offerings to him. The three wrathful deities at the right hand side are the representations of wrathful deities who serve as protectors and destroyers of ignorance. Wrathful deities are important iconographic features of the Mahayana and Vajrayana Buddhism. The sense of scale in rendering the figures depicts the hierarchical and monastic order. Saddha practitioners portray Saddha (faith and conviction) in the triple gem – the enlightened (the Enlightened One), the Dharma (his teachings), and the Sangha (the community of practitioners). The Thangka here is very likely an embodiment of the same essence.
The Thangka as a thorough representation of religious stratum outlines the multifold pathways leading to salvation and enlightenment. The Lamas and Arhats, the wrathful deities and other sentient beings showcase a monastic order of the religion.
As pointed out by Dr. Pal in Tibetan Paintings: A Study of Tibetan Thankas, Eleventh to Nineteenth Centuries religious modes of artistic expression like the Thangkas conform to veracity and consistency and therefore stylistic changes and adventurism do not transpire as easily; which is why Thangkas remain definitive bearers of Buddhist doctrine and philosophy.
