NOVEMBER ARTWORK s
Pieces are published and changed each month. The objects are presented with a full description and corresponding dealers contact information Unlike auction sites or other platforms, we empower collectors to interact directly with the member dealers for enquiries and purchases by clicking on the e-mail adress.
In order to guarantee the quality of pieces available in the catalogues, objects are systematically validated by all our select members, who are the in-house experts. Collectors are therefore encouraged to decide and buy with complete confidence. In addition to this the Asian Art Society proposes a seven-day full money back return policy should the buyer not feel totally satisfied with a purchase. Items are presented by categories please check the table of contents.
Feel free to ask the price if the artwork is listed with a price on request.
B O d H is ATTVA AVALOK i TE s HVARA
Khmer, Cambodia
Angkor period
Preah Ko style, circa 879 – 910 CE
Sandstone
Height: 18,5 cm
Provenance:
Private collection S.W., Munich (since 1980s)
Private collection Belgium (since 2012)
Price on request
Obj EC t Pr ESE nt E d by: Farah Massart
M.:+32 495 289 100
E.: art@famarte.be W.: www.famarte.com
The Preah Ko period lasted only thirty-one years, consequently, sculptures of this period are quite rare. While most known sculptures of this style are depictions of Hindu deities, only few Buddhist figures are known.
The Bodhisattva of Infinite Compassion can be identified by the image of the seated Amitabha Buddha in his hairdo. A short jatamukuta (crown of matted hair) rise above the diadem which is finely knotted on the back of the head. The remarkable finesse of the ears is noteworthy, they are pierced to allow gold or silver earrings to be attached.
A p ORTRA i T OF s u LTAN
H AMEN g K u B u WANA
V iii OF YO g YAKARTA (1880-1939)
Yogyakarta, Java, Indonesia
Circa 1925-1928
Oil on canvas
103,5 cm (h.) x 86 cm (w.)
Provenance:
Private collection, Indonesia
Price on request
Obj EC t Pr ESE nt E d by: Zebregs&Röell
+31 6 207 43671 dickie@zebregsroell.com www.zebregsroell.com
Sultan Hamengkubuwana VIII (March 3, 1880 – October 22, 1939), born as Gusti Raden Mas Sujadi) was a ruler of the Yogyakarta Sultanate. He was inaugurated as the Sultanon February 8, 1921 and ruled until his death in 1939. During Hamengkubuwana VIII's reign, the Yogyakarta Sultanate used substantial funds for various activities, including financing the sultanate's schools. Many of Hamengkubuwana VIII's sons were well-educated, with many studying in the Netherlands. Among them was Gusti Raden Mas Dorojatun, who would later ascend the throne as Hamengkubuwana IX, who attended Leiden University.
During his reign, he oversaw the extensive renovation of the Yogyakarta Palace complex buildings before in bad shape. Notable among these is the Bangsal Pagelaran located at the very front (directly south of the northern Alun-alun of Yogyakarta). Other renovated buildings include the tratag Siti Hinggil, the Donopratopo Gate, and the Great Mosque.
The sultan died on October 22, 1939, presumably on a train in the Wates area, Kulon Progo, while returning from Batavia (Jakarta) to pick up Gusti Raden Mas Dorojatun who just returned from the Netherlands. Other sources state that he passed away at the Onder de Bogen hospital (now Panti Rapih Hospital) after falling ill on the train in the Kroya area. Gusti Raden Mas Dorojatun, who had not yet finished his studies, was suddenly called home. In Batavia, the Sultan handed over the Kyai Ageng Joko Piturun keris to Gusti Raden Mas Dorojatun as a symbol of royal succession, indicating that Gusti Raden Mas Dorojatun would be the next Sultan.
Ad AT Tu BE sK i RT
Biboki, Timor
First half 20th century
Handspun cotton, trade beads; warp ikat
57 cmx 113 cm
Provenance:
Laurence A. G. Moss
Publication:
Taylor, P.M. (ed.) Fragile Traditions: Indonesian Art in Jeopardy, University of Hawaii Press, Honolulu, 1994, (fig. 4), p. 95
Price: 10.000 USD
Obj EC t Pr ESE nt E d by:
Thomas Murray
M.: + 1 415.378.0716
E.: thomas@tmurrayarts.com
W.: www.tmurrayarts.com
As viewed in the warp direction, note bold prototypical patterns, similar to early Lampung and Iban textiles.
The beaded decoration on the bottom border is in the form of a rectilinear spiral.
This ritual tube skirt probably served as a dowry offering.
With a band of extremely delicate reciprocal trefoil designs around the rim, traces of gilding The inscription reads: 'ya ma'boud' (oh who is worshipped).
A V ERY Fi NE ‘sAFAV id’
p i ERCE d sTEEL
QuATREFO i L pANEL
Iran
Second half 17th century or Early 18th century Steel
Diam.:: 14,5 cm
Price on request
Obj EC t Pr ESE nt E d by: Finch & Co www.finch-and-co.co.uk
E.: enquiries@finch-and-co.co.uk
T.: +44 (0)7768 236921
M ON g OL i AN H AT
Mongolia
19th century
Width: 23 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 Noble woman's yellow silk and black velvet ceremonial hat, worn by an important dignitary.
This item will be part of our Autumn 2024 catalogue on line on the 19th November.
M ATR i KA L OT us
M AN d ALA
Nepal
16th-17th century
Copper alloy
Diameter: 18,3 cm
Published:
Himalayan Art Resources, item no. 7628.
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
A bronze lotus springs from a stem decorated with foliate sprays at each of the stepped base's four corners. Each of the eight movable petals is cast to convey several layers of the closed lotus bud. The goddesses within are identified by the implements they carry and their vahanas (mounts), corresponding to those of their male counterparts: Varahi atop a buffalo, Mahalakshmi atop a lion, Maheshvari atop Nandi, Vaishnavi atop Garuda, Indrani atop an elephant, Kumari atop a peacock, Brahmani atop a goose, and Chamunda atop a corpse. The present example bears a striking resemblance to the sixteenth-century Navadurga lotus mandala at the Newark Museum of Art (acc. 90.400).
This item will be part of our Autumn 2024 catalogue on line on the 19th November.
Ti BETAN
dOC u MENT B Ox
Tibet
The box constructed of a soft wood, veneered to all six sides in heavily patinated ray skin. This rare box is strengthened with iron buts.
32 cm x 16 cm x 13 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
s i LK COVERE d
L ACQ u ER B EA ds
China
Qing period
Made from 108 silk wrapped incense beads
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
This item will be part of our Autumn 2024 catalogue on line on the 19th November.
A MBER pEN d ANT
China
6 cm x 4 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
An old, large Amber pendant with a butterscotch colour and lovely wear and form.
This item will be part of our Autumn 2024 catalogue on line on the 19th November.
s N u FF BOTTLE
China
1750-1860
Agate
Height: 5,6 cm
Provenance:
Private collection, Los Angeles
Zhenliu Xuan, CA.
Price on request
Obj EC t Pr ESE nt E d by:
Clare Chu Asian Art LLC
M.:+ 1.310.980.4084
E.: clarechuasianart@gmail.com
W.: www.clarechuasianart.com
An agate snuff bottle, very well-hollowed, of squared form with rounded shoulders, a cylindrical neck and a neatly carved oval footrim, the honeybrown stone with dark-brown inclusions, polished on one main side to depict a monkey under a leafy tree, poking a stick at a hanging box, the reverse uncarved.
This is a popular scene in Chinese art, and specifically Buddhist art, where a curious monkey pokes a stick or tries to reach an object hanging from a tree, often a box. This scene is symbolic of human desire, curiosity and the pursuit of illusion. In Buddhist teachings, monkeys are frequently used as symbols of the restless, wandering mind. The invisible object in the box represents wordly attachments or desires. This image serves to remind us of the futility of constantly chasing after the unattainable, encouraging people to seek inner peace and enlightenment instead of external distractions.
s N u FF BOTTLE
China
1750-1860
Jasper
Height: 5,5 cm
Provenance:
Millon Jutheau, March 5, 1985, lot 116
Private collection, Neuilly, France
Exhibition:
Patou, Paris, France, February –March, 1994
Price on request
Obj EC t Pr ESE nt E d by:
Clare Chu Asian Art LLC
M.:+ 1.310.980.4084
E.: clarechuasianart@gmail.com
W.: www.clarechuasianart.com
A jasper snuff bottle, well-hollowed, of squared form with rounded shoulders, a cylindrical neck and a neatly carved oval footrim, the olive-green stone with ochre and red inclusions, carved on one main side with a horse flying above waves, below a cloud of rising vapor and a yin yang symbol, the reverse uncarved.
This is one of the most spectacular of all known jasper ‘horse' snuff bottles. The ‘tethered horseand-post' is a popular subject matter for carvers of jasper bottles, however, the result is often stiff and repetitive. In this case, not only is the carving more fluid and painstaking, but the unique subject is much more dynamic than the more usual rendering. The use of the green background color in the stone with its streaks of ochre is also a departure from the norm, lending the depiction a vibrancy which is often absent.
s N u FF BOTTLE
China
1750-1820
Glass
Height: 6 cm
Provenance: Art Klein, CA.
Thence by descent
Price on request
Obj EC t Pr ESE nt E d by:
Clare Chu Asian Art LLC
M.: + 1.310.980.4084
E.: clarechuasianart@gmail.com
W.: www.clarechuasianart.com
A glass snuff bottle, of flattened rounded form, a cylindrical neck and a neatly carved oval footrim, carved using an opaque yellow overlay over a pink ground and carved on one main side with a pair of ducks beside a bronze vessel on a stand holding a branch of prunus blossoms, the reverse with two crabs climbing up a stalk of millet, the narrow sides with mock mask and ring handles.
This appealing and well-carved bottle is clear in its symbolism. Together a pair of crabs and millet represent a wish for prosperity, success and abundance with millet representing a blessing for wealth and crabs, wishes for achievement and harmony. A pair of ducks beside prunus represents love, fidelity and resilience often associated with a harmonious marriage. In summary, the two sides of this bottles depict powerful symbols of a harmonious and enduring marriage, embodying the ideals of love, loyalty, resilience and hope.
A pA i R OF g OL d EAR
p EN d ANT s
China
Northern Wei (386-534 CE)
Length: 18,5 cm
Price on request
Obj EC t Pr ESE nt E d by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W: www.ollemans.com
The ear pendants are constructed of six separate elements.The top element is a cluster of gold balls covered in granulation design and surrounded by gold discs bound on with gold wire.This leads into a group of three gold balls with fine granulation,two of them pierced,below this is a repeat of the top element leading into a group of tassles with plaited chains and dagger pointed pendents. This type of ear pendant was worn by the Xianbei tribe of the Northern Wei period; In a stone reliquary excavated in Dingxian Hebei, a pair of ear pieces similar to these were found.
Similar Examples:
Kwan S;Sun ji: Chinese Gold Ornaments p 332#184 Art of the Chinese Goldsmith, The Cheng Xun Tang Collection,The Art Museum,The Institute for Chinese Studies,The Chinese Art Museum Hong Kong 2007 P 100 #B19
A g OL d HA i R pi N
China
Qing Dynasty 18th century
Length:13 cm
Price: 4.500 GBP
Obj EC t Pr ESE nt E d by: Sue Ollemans
M.: + 44 (0) 7775 566 356 E.: sue@ollemans.com W.: www.ollemans.com
The Gold hairpin is made from fine filigree. The head comprises a large flower with leaves, stems and further buds. The flower is attached to the pin by way of twisted gold creating a “en tremblant” effect when worn.
A pA i R OF g OL d HOLLOW
g O u R d EARR i N gs
China
Ming dynasty
16–17TH century CE
Length: 5 cm
Price: 6.000 GBP
Obj EC t Pr ESE nt E d by: Sue Ollemans
M.: + 44 (0) 7775 566 356
E.: sue@ollemans.com
W.: www.ollemans.com
A pair of gold hollow double gourd earrings capped with lotus leaf calyxes. The large pins are s-shaped.
The earrings were worn by noble women and are recorded in the Tianshui bingshan lu. Gold examples seem to have been found largely in the provinces of Liaoning, Gansu, Hangshu, Jiangshu and Sichuan.
The tops of the gourds are decorated by four gold leaves, engraved and with the edges shaped into tiny repeated curls. The leaves secure a long ankyroid or ‘S'-shaped wire for threading through the earlobe. Possibly, such earrings were commissioned for members of the Imperial family as weddings gifts with the wish for many sons.
The double gourd form was much appreciated in China from at least the Tang period (618906). They were associated with abundance and fertility, largely on account of their luxuriant tendrils and many seeds. Another interpretation is that the double element structure represents the double nature of the universe with the lower sphere representing the earth and the upper sphere representing the heaven
Similar examples:
The Art of the Chinese Goldsmith, The Cheng Xun Tang Collection, The Art Museum, The Institute for Chinese Studies, The Chinese Art Museum, Hong Kong, The Chinese University, Hong Kong, p450 #G58
Hanakago (F LOWER BA s KET W i TH HAN d LE)
Yokota Hōsai (Minesai) (1899-1975)
Signed by Hōsai saku/ Minesai saku (Made by Yokota Hōsai/ Minesai)
Japan
Susudake (smoked bamboo), madake and rattan Kiribako (modern box) with otoshi 17 cm x 15,5 cm x 42 cm (h) Price on request
Obj EC t Pr ESE nt E d by:
Galerie Mingei
M.: +33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery
Tennen-dake T su Tsumi-gaTa H anakago (F LOWER BA s KET W i TH A HAN d LE MA d E OF NAT u RAL BAMBOO i N A s HA p E OF A HAN d-HEL d d Ru M)
Maeda Chikubōsai I (1872-1950)
Signed by Chikubōsai tsukuru kore (made by Maeda Chikubōsai), seal: Chikubōsai
Japan
Circa 1910-1930
Susudake (smoked bamboo), tennen-dake (natural bamboo) and rattan
Tomobako & otoshi - Hakogaki: Tsutsumi-gata hanakago (A hand-held drum shaped flower basket) and Koyo kuze-no-sato, Chikubōsai tsukuru kore (made by Chikubōsai, in Kuze village, Koyo (“Imperial sunshine”))
Senjo-ami (thousand-line construction) and gozame-ami (mat plaiting)
23,5 cm x 23 cm x 50 cm (h)
Price on request
Obj EC t Pr ESE nt E d by: Galerie Mingei
M.: +33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery
sH ô K i
Attributed to Maruyama Okyo (1733-1795)
Japan
Edo period
18th century
Ink on paper, mounted on silk
167 cm (h) x 53 cm
Price on request
Obj EC t Pr ESE nt E d by: Galerie Mingei
M.: +33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com
W.: www.mingei.gallery
Chūgoku-fū mozō-hin
H anakago (sT ud Y OF A C H i NE s E-s TYLE FLORAL BA s KET)
Yamamoto Chikuryōsai I (1868-1945)
Signed by Chikuryōsai zo (made by Chikuryōsai), seal: Chikuryōsai
Japan
Before 1929
Madake bamboo Tomobako & otoshi
Hakogaki:
Chūgoku-fū mozō-hin hanakago (模
唐物華籃) Study of a Chinese-style floral basket, (竹龍齋) Chikuryōsai
42 cm x 29 cm x 90 cm (h)
Price on request
Obj EC t Pr ESE nt E d by: Galerie Mingei
M.: +33 (0)6 09 76 60 68 E.: mingei.arts.gallery@gmail.com W.: www.mingei.gallery
A kakemono (HAN gi N g
s CROLL) pA i NTE d i N i NK
W i TH CALL ig RA p HY
Daitetsu Sōto (1765-1828), The 430th abbot of Daitoku-ji Temple, Kyoto, Japan
Edo period
18th/19th century
Scroll:144,5 cm (h.) x 108,5 cm (w.)
Painting: 37,7 cm (h.) x 103,5 cm (w.)
Price on request
Inscribed:
Masangin (Three pounds of flax)
*Daito Kokushi said this: In utter coldness as if the wood has pieced into the rock, I sit under the slanting moon to meditate until dawn overcoming hindrances, chilly clouds are accompanied by penetrating quietude, the gushing splash of a waterfall is heard somewhere along with sudden thundering.
*Allegedly a direct quote from Daitō Kokushi (1282-1338) the second patriarch and founder of Daitokuji Temple, Kyoto.
Seals:
Right: Manji Hōju-ichi
Left, upper: Daitetsu
Left, lower: Kaan dojin (The snail studio, a man of Tao)
Daitetsu Sōto (1765-1828) was the 430th abbot of Daitoku-ji Temple, Kyoto. Daitokuji was founded in the early 14th century and is the Headquarters of the Rinzai sect of Zen Buddhism.
Work by the artist can be found in the collection of: The Spencer Museum of Art, The University of Kansas, USA.
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
Masangin appears in an early Buddhist text ‘The Gateless Gate’ by Wumen Huikai (1183-1260) a famous Chinese Zen master from the Song period who compiled and commented on a collection of 48 Kōan.
In koan #18 Dongshan Liangjie (807–869) or Tozan Ryōkai (in Japan) says:
A monk asked Tozan: "What is Buddha?"
Tozan replied: "Masangin!" (Three pounds of flax)
At that moment Tozan was carrying three pounds of flax, therefore he could not indicate anything else. In fact he is saying that the question is wrong and if you ask a wrong question you will get a wrong answer as it is impossible to say what the experience of being a Buddha (enlightened) is.
However, he is compassionate and polite and chooses not to say: ""You idiot! A question about Buddha is not to be asked - it is an experience without any explanation, an
experience beyond the mind."" He simply gives an absurd answer: “Masangin!”
Zenga (Zen painting) is a form of teaching: in calligraphy the most common subjects are Zen poems and conundrums. The style of the brushwork is dramatically bold, seemingly impetuous and bluntly immediate in effect. The transition from mind to paper is spontaneous and finished works distill the essence of the Zen experience with simple strokes of the brush. The logic-destroying potential of a Zen Kōan (riddle) becomes visible in the movement of roughly brushed calligraphy.
Kōan consist of anecdotes, conversations with and sayings of the great patriarchs, some legendary and some biographical. They were designed to serve the pupil as a tool in his own religious practices and to eventually lead him to enlightenment.
n.b Good condition with some slight creasing and old marks consistent with age. The scroll has been remounted at some point in the last 50-100 years.
A six-FOL d pA p ER
s CREEN pA i NTE d i N i NK
AN d COLO u R ON A g OL d
g RO u N d W i TH Au T u MN
FLOWER s AN d g RA ss E s
Japan
Edo period
17th century
53 cm (h.) x 166,5 cm (w.)
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
Not only the changing colours of autumn leaves but also flowers and grasses of the same season have been popular subjects in Japanese art, literature and poetry from an early period. In particular, the aki no nanakusa (seven grasses of autumn) theme dates to the eighth century poetry collection Manyōshū (Collection of Myriad Leaves) and has continued to be a favourite theme. As in the below two poems by an aristocrat and poet Yamanoue no Okura (660-733) included in the Manyōshū, the seven autumn grasses consist of hagi (bush clover), susuki (pampas grass), kuzu (arrowroot), nadeshiko (fringed pink), onimaeshi (golden lace), fujibakama (mistflower) and kikyō (bellflower).
Aki no no ni sakitaru hana o yubi orite
kaki kazoureba nana kusa no hana.
Hagi no hana
obana kuzubana nadeshiko no hana ominaeshi mata fujibakama asagao no hana
Flowers blossoming in autumn fieldswhen I count them on my fingers then there are seven.
The flowers of bush clover, pampas grass, arrowroot, fringed pink, golden lace, also, mistflower and bellflower
n.b There are numerous old scratches and marks throughout the screens commensurate with age.
H EA d OF Budd HA
Japan
Heian period (794–1185)
Height: 45,1 cm
Price on request
Obj EC t Pr ESE nt E d by:
Rasti Fine Art Ltd.
M.:+852 2415 1888
E.: gallery@rastifineart.com
W.: www.rastifineart.com
A large gold-and-black-lacquered wood head of Buddha with a serene, meditative expression, the forehead with an urna inset with crystal.
iN di AN C A s T B RA ss Li ON FORM pALK i H AN d LE
India
19th century Brass
17,78 cm x 22,86 cm x 10,16 cm
Provenance:
From the Collection of Eugene V. and Clare E. Thaw. 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
Post cap for a hand carriage. This piece would have decorated the handle of a palki, or palanquin, a transportation mode favored by the nobility wherein they would sit atop a plush covered palette that was typically carried by four attendants. The level of detail and artistic qualities included in the palki would have been a direct representation of one's social status. Symbols such as the lion or other animals would typically be found on the palki of a male aristocrat, while those created for women included motifs such as birds or flowers.
Provenance Overview: Respected philanthropist Eugene Victor Thaw (1927-2018) was widely considered to be among the world's greatest collectors of European master drawings, French Post-Impressionism, Cubism, and an early advocate of the American Abstract Expressionists. He is credited with placing hundreds of major works into museums around the world, and was the founding member and past president of the Art Dealers Association of America.
A Bu TTER L AM p
dE pi CT i N g gAjA
L AK s HM i
Southern India
17th century Bronze
Height: 28,58 cm
Publication:
Vidya Dehejia. The Sensuous and The Sacred: Chola Bronzes from South India Exh. cat. New York, Seattle and London, 2002. cat. 58, pp. 216-220. Price on request
The lamp is one of the key accouterments of worship, both liturgically and ornamentally, in Hinduism. Dehejia in her text The Sensuous and The Sacred: Chola Bronzes from South India notes that during the Chola Period, lamps were the primary form of ritual objects gifted to the temples by the merchant and trader communities. The multi-tiered depiction of fauna (galloping horses, geese and elephants) culminating into a Kirtimukha (motif of glory) punctuate the symmetrical finesse of the lamp. The Gajalakshmi (Goddess Laksmi with elephants) form, according to Dehejia, is typical of Tamil Nadu. The butter lamp is found across most (if not all) temples, but maintains unique idiom in each respective locale.
Gaja Lakshmi is a symbol of prosperity, wealth and the fertility associated with water. The elephants that adorn her symmetrically highlight the goddesses' association royalty and are a hallmark of this form's serenity and majesty.
Obj EC t Pr ESE nt E d by:
Kapoor Galleries
T.: + 1 (212) 794-2300
E.: info@kapoors.com
W.: www.kapoors.com
iN d RA's App ROACH ON Ai RAVATA
Kangra, India
Circa 1850
Gouache heightened with gold on paper
Image: 24,8 cm x 17,8 cm
Folio: 31,1 cm x 25,4 cm
Price on request
Obj EC t Pr ESE nt E d by:
Kapoor Galleries
T.: + 1 (212) 794-2300
E.: info@kapoors.com
W.: www.kapoors.com
In early and foundational Hindu texts, Indra is the supreme god of the heavens, encompassing many different roles. With epithets or forms making him embody fertility, rain, thunder and broadly sky-oriented roles. Indra's vahana is the mighty Airavata, the divine white elephant.
In this piece, set on a simplistic grassy landscape with small hills, Indra is atop Airavata. Airavata is decorated with gold accents on his tusks and bells around his neck similar to those often found on Shiva's Nandi. Airavata is depicted in motion, as if he is walking even closer to the Maharaja than he already is. He is dressed with an auspicious and regal throne backed saddle where Indra is seated. Indra himself shares the same porcelain white complexion with Airavata, and is shown wielding a trishula, the trident equivalent of the region. He is adorned with the typical jewelry around his neck, earrings, bangles and other cuff-styled accessories on his upper arms. Around his ornamented head, gold is used to depict his radiance, stemming all around him like rays of the sun. Some stylistic differences are present in this piece, such as Indra depicted with only two arms, and Airavata with only one head and two tusks.
The maharaja he is approaching is unclear, and is possibly the commissioner of the art piece. He is well decorated on a throne with a small parasol-like fixture stemming from it. Another noteworthy part of this piece is the heavenly kingdom in the sky which rests upon the clouds. The folio on this piece features a consistent
A fine example of a miniature palampore with ‘carpet pattern' layout from the Coromandel Coast, possibly used as an offering cloth to wrap Holy Scriptures.
O FFER i N g C LOTH
India (for the Sri Lanka market)
Early 19th century
Cotton; painted mordant and resist dye
44 cm x 56 cm
Price: 5.500 USD
Obj EC t Pr ESE nt E d by: Thomas Murray
M.: + 1 415.378.0716
E.: thomas@tmurrayarts.com
W.: www.tmurrayarts.com
pROTECT i VE HAN gi N g, i lgi T c H (oyna k H alTa)
Kungrat people, Central Asia
19th / early 20th century
Wool, embroidery
86 cm x 86 cm
Provenance:
Anderson collection
Price: 4.000 USD
Obj EC t Pr ESE nt E d by: Thomas Murray
M.: + 1 415.378.0716
E.: thomas@tmurrayarts.com
W.: www.tmurrayarts.com
Such cloths were hung as protective talismans inside the yurt (jirga or ger) tents of the Kungrat non-Turkmen Central Asians. They align stylistically with the Uzbek Lakai who migrated into Afghanistan.
