September catalogue: Asian Art Society

S e P te MB e R i SS 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.

Cover Image: Gold finial presented by Zebregs&Röell on p. 16

S e P te MB e R a R t WORKS

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.

Yell OW Manju SR i

Guge, West Tibet

Mid-late 14th century Pigment on paper

11 cm x 9 cm

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

Yellow Mañjuśrī, Deity of Supreme Wisdom. However in this form, although he appears to have womanly breasts this is likely to be an artistic way of accenting his gentle nature rather than suggesting androgyny. He holds the sword which cuts ignorance away from Wisdom in his right hand. Usually the lotus which he holds in his right hand is shown supporting a volume of the ‘Perfection Of Wisdom’ texts which appears to be missing here. However the fulfillment of Wisdom might well be suggested by the full-blown lotus which may be seen. He has the 5-pointed crown showing his mastery of the 5 aspects of Wisdom and his robes amplify the point made above about the Guge style of showing typical Indian fabrics of the wealthy being shown in art works to show the power and ease of the deity. Mañjuśrī’s smile is gentle and beatific and suggests insight into the nature of reality.

For more information, please visit www.hollywoodgalleries.com

tWO

Painting

S de P i C ting B O n tant R

Tibet

13-14th century

Mineral pigment and gold on paper

16,5 cm x 9,5 cm

Provenance:

Private collection Kathmandu, Nepal

Acquired from Suzy Lebasi, Australia on 13 September 2006

Boris Kaspiev, Australia

Publication:

TAASA Review September 2015

Price: 6.000 USD

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 figure in the white cloak reads: ‘(This figure represents) He who is known as ‘The One who is NonDiverse [in his practice] and Whose Prayers are AllAccomplishing’ and whose secret name is ‘Suppressor of Demons’. Homage to Him!” The writing is in a style known as khyug. The card is marked with the letter A at the top of the reverse telling us that it is number 30 in the series.

The figure in the yellow cloak reads: “This figure represents) the Great Acarya (spiritual master) ‘Master of the Phurba’ and whose secret name is ‘Sprouting Shoot of the Letter Ho.’ Homage to Him.” This card is marked with the letter Sha at the top of the reverse telling us that it is number 27 in the series.

In these painting, the figure in the white cloak is holding a shang, or Bon ritual bell; the figure in the yellow cloak is holding in his right hand a kundika (water sprinkler) used for purification, and a phurba (triple-bladed ritual dagger) in his left. The style of their headwear is one found in similar painting from Mustang, a Tibetan cultural area in northern Nepal.

For similar figure, see the cover of Buddhist Book Illuminations, Pal and Meech-Pekarik, Ravi Kumar, New York 1988 Gerry Virtue collection; and the same image is included in TAASA vol 12 no 1 March 2003 pp14.

For more information, please visit: www.hollywoodgalleries.com/shop-1

A work of genius draftsmanship, the work of an artist truly ’in the zone.

dR a W ing OF

C H a KR a S a MVa R a

Ya B-Yu M u S ed a S a

tH ang K a g uide

Mongolia

19th - Early 20th century

Paper

35,5 cm x 43,8 cm

Price on request

Obj EC t Pr ESE nt E d by:

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W.: www.tmurrayarts.com

Central Java, Indonesia

2nd half of 9th century

14,7 cm (h) x 7,8 cm (w.) x 8,1 cm (D.)

Weight: 126,2 grs

Provenance:

Collection of a notable from the Hague, who stayed in the former Dutch East Indies around circa 1900

Thence by descent

Purchased from the above by a distinguished Dutch collector (name is known to us) between 1970 and 1980

Price on request

Obj

Zebregs&Röell

+31 6 207 43671

dickie@zebregsroell.com

www.zebregsroell.com

The high-grade gold finial consists of three parts, has a hole at the bottom and traces of clay on the inside and is formed as a slightly bent spire sprouting from lotus leaves, the sides of the bottom part has stylized flowers alternating with masks. Above it the design is continued in an abstract but floral manner. The top finial is bent slightly more, with a deity coming out of a hole on the inside of the curve. The top ends in a fine ornamental curl and has an old – probably early 20th century – restoration.

This object is registered at the Documentation Centre for Ancient Indonesian Art in Amsterdam.

Only a few of these mysterious objects are known. Amongst them, a top part of a finial, nearly identical to the present one, in The Metropolitan Museum New York (acc.no. 1998.544.56) and some in the National Gallery in Jakarta (all registered at the Documentation Centre of Ancient Indonesian Art). Some argue that it these are the finials of royal umbrellas, but we, as do others, suggest that it is the hilt of a ceremonial dagger or sword of which the iron blade has long been disintegrated in the soil. We, however, as opposed to, for instance, the Documentation Centre for Ancient Indonesian Art, would like to argue that the form of the present-day keris hilt points out the actual use of these gold finials. It strongly resembles the bent curve of many keris handles, with the openwork and abstract appearance. However,the sheer size of this handle (and the blade it has carried) does not comply with today’s keris on Java, but it does, however, with the Balinese daggers. Remarkably, the ancient Hindu culture of Bali relates more to ancient Hindu-Javanese culture than Javanese culture nowadays.

The hilt would be filled with clay, and although the gold is quite firm without this sturdy core, it would not be suitable for an umbrella. The decoration would prevent one from holding it up for a longer time, and more importantly, the pressure on the gold created by the umbrella itself would be too high, causing it to break or bend. Furthermore, this would not do as well as a larger sword’s finial. The weight of the blade would make the finial prone to get damaged. Therefore, one could suggest this finial mostly had a ceremonial function. A king wearing a dagger adorned with such an exuberant hilt was so rich he did not need to fight. Not handled in battle, tucked in a sarong, or placed in a stand when unused, the handle would be safe from potential harm.

The keris history is generally traced through the study of carvings and bas-relief panels found in Java, Indonesia. Some of the most famous renderings of a dagger or early keris appear on the bas-reliefs of Borobudur (825 CE) and Prambanan temple (850 CE), originated from the Hindu- Buddhist Mataram Kingdom of Central Java. In addition, the term keris was mentioned in several ancient Javanese inscriptions, including the Humanding inscription (707 Saka or 875 CE), Jurungan inscription and Haliwangbang inscription (708 Saka or 876 CE), Taji inscription (823 Saka or 901 CE), Poh inscription (827 Saka or 905 CE), and Rukam inscription (829 Saka or 907 CE).

The description of a small dagger from Java reminiscent of the keris can also be found in a Chinese source from the 10th-century Song dynasty. In 992 CE, the envoy from She-po (Java) arrived at the Chinese court “bearing lots of gifts, consisting of a dagger with an exquisite hilt made of rhino horn and gold, silk woven with floral motifs made of gold threads, ivories, pearls, silk of various colours, fragrant sandalwood, cotton clothes of various colours, turtle shells, betel sets, a rattan mat with the image of a white cockatoo, and a small model of house made of sandalwood adorned with valuable ornaments.”"

This object is registered at the Documentation Centre for Ancient Indonesian Art in Amsterdam.

a n an C ient

Hindu-jaVane S e

g O ld Fan OR

F lY-WH i SK F inial

Central Java, Indonesia

Mataram Kingdom

Circa 9th -10th century

14,7 cm (h) x 7,8 cm (w.) x 8,1 cm (D.)

Weight: 12,5 grs

Provenance: Private collection, the Netherlands Price on request

Obj EC t Pr ESE nt E d by:

Zebregs&Röell

+31 6 207 43671

dickie@zebregsroell.com

www.zebregsroell.com

Figu R e OF Sa MB anda R

Tamil Nadu, South India

14th-15th century

Bronze

Height: 21 cm

Provenance: Acquired in New York on 12 November

2005

English private 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

This bronze sculpture comes from the Kingdom of Vijayanagara, the last great Hindu kingdom, which lasted from 1336 to 1565, and whose capital was Hampi. Sambandar, a Tamil poetsaint, is depicted here, dancing on a circular platform supported by a lotus base, his right hand raised in vitarka mudra, his left outstretched.

Sambandar was a Shiva poet-saint from Tamil Nadu (South India), who lived in the 7th century AD. According to Shiva Tamil tradition, he composed 16,000 hymns in complex metres. Sambandar is represented in the temples of Tamil Nadu dedicated to the god Shiva.

The poet-saint is traditionally depicted dancing, in a dynamic, soaring attitude. His face is youthful (he is said to have lived for only sixteen years), with a serene, joyful expression. The body is modelled with a certain realism, reflecting the skills of the craftsmen of a rich and cosmopolitan kingdom.

Budd H a H ead

Mathurā, North India

Kushan Empire

2nd century

Pink speckled sandstone

Height: 20 cm

Provenance:

Saidian 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

Between the 1st and 3rd centuries, Mathurā enjoyed considerable prosperity. As the capital of the Kushan Empire, it played a decisive role in trade relations and cultural exchanges, with the dynasty exercising constant control over the routes and transactions of northern India. The dynasty’s patronage also encouraged the production of religious art, which earned Mathurā worldwide renown for its primitive Buddhist art.

This Buddha head in pink speckled sandstone is a remarkable example of this, due to its rarity and age. Despite the absence of the ūrṇā and the u n a, the divine aspect is revealed thanks to the ears deformed by heavy earrings, which Prince Siddhartha removed during the episode of the Great Departure. The eyes, with their hemmed contours and wide lids, are typical of Mathurā’s art, as are the prominent superciliary arches. The high, marked corners of the mouth emphasise the smiling mouth. It is worth noting the treatment of the hair, soberly depicted in a smooth mass, which is singular in Mathurā art. Carved in very high relief or in the round, this fragment would have belonged to a stele representing the Buddha. A comparable sculpture is published in: PAL Pratapaditya, Indian Sculpture Volume 1, University of California Press, 1987, p. 181, S58.

Vi SHVa Ru Pa

Possibly Kota, Rajasthan, Northern India

19th century

Opaque Watercolor on Cloth

142,2 cm x 91,4 cm

Publication:

J. Cummins, Vishnu: Hinduism’s BlueSkinned Saviour , Ahmedabad, 2011, p. 221, cat. no. 133

Exhibition:

The Brooklyn Museum, ""Vishnu: Hinduism’s Blue-Skinned Savior."" June 24–October 2, 2011, cat. no. 133. Price on request

This episode occurs halfway through the battle when Arjuna asks Krishna to reveal his true form. Joan Cummins in Vishnu: Hinduism’s Blue-Skinned Saviour describes this incident in a very theatrical manner. On being asked to reveal his true form Krishna bestows Arjuna with a special sight to behold him in his true form. Then emerges a boundless divine form with countless mouths and eyes, celestial ornaments, and weapons. It were as if the light of a thousand suns had lit up Arjuna’s sight.

Arjuna saw all the universe in its many ways and parts, standing one in the body of the god of gods.

(Cummins, 221)

Arjuna on beholding this form of Krishna gets taken aback and requests him to return to his familiar form and Krishna with compassion does so. Some of the scenes in this depiction include Vaikunta (Vishnu’s paradise) at the top, Rasmandala (the circle dance) where Krishna duplicated himself to be with all Gopis and the Kurukshetra battle field in the landscape on the either side of the figure. Krishna and Arjuna can be clearly spotted on the right hand side in the figure.

Obj EC t Pr ESE nt E d by: Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

Vishwarupa is therefore the universal form of Krishna, revealed to Arjuna on the battlefield of Kurukshetra as a metaphor to comprehend the collision of the earthly and godly realms.

i llu S t R ati O n tO

B OOK tHR ee OF t H e B H agaVata

Pu R ana: tH e StORY OF C R eati O n

Va R a H a, t H e B Oa R

i n C a R nati O n OF

Vi SH nu aPP ea RS

B e FOR e B R a HM a, Manu, and Sata Ru Pa

Attributed to Manaku (Active c.1725c.1760)

Guler, India

Circa 1740

Gouache and gold on paper

31,7 cm x 21,6 cm

Provenance:

Acquired in NY, July 7th, 1982

Price on request

Obj EC t Pr ESE nt E d by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

After Brahma rises from the navel of Vishnu, he goes on to create various gods and divine sages; then he creates Manu, the “progenitor of all men.” Manu asks Brahma to pull the earth from the ocean so that he, his wife Satarupa, and his future family will all have a place to live. Brahma then goes to invoke his own creator, Vishnu, and almost immediately a tiny boar falls from his nose.

While he (Brahma) was looking on, a great miracle took place: the small boar in the sky shot up to the size of an elephant in a moment. Along with the Brahmanas with Marici as their chief with Kumaras and with Man, he saw the boar form and began to think in various ways. Is it the transcendental being appearing in the form of a boar? ‘What a miracle that it should come out of my nose! It appeared like the tip of a thumb and in a moment it became as big as a great boulder. Can this be the divine sacrifice (i.e. Vishnu) himself who is trying my mind to exhaustion (by concealing his real form)?’”

The master artist Manaku has brilliantly rendered against a bold yellow background, reminiscent of his earlier Gita Govinda series, this rare work illustrating the moment in which Brahma; pot of holy water and sacred text in hand- with four crowned heads and a superbly detailed grey beard, as well as Manu and his wife, look at the newly arrived boar “as big as a great boulder,” who has just revealed himself as the third incarnation of Vishnu: Varaha, the Boar Avatar.

The detailing is superb; from the rosetint edged petals of the lotus flowers in Varaha’s shimmering crown, as well as the one he clasps along with the other three ayudhas (the conch, discus, and mace), the text on the sutra Brahma grasps, the sensitive handling of the fingers on each figures hand, the way the divine jewels of the celestial beings glisten on their bodies while dhotis flow with a sense of movement, to Varaha, painted in shimmering blue. Individual and deep emotion are portrayed in each figure’s eyes. Enhanced by these fine details, it is the reigning stillness in the page that moves the most. Manaku’s mastery of spatial dynamics, detail, and vivid color. Nothing else is brought into the space of this leaf as the mysterious, esoteric dialogue between the created and the creator proceeds.

For other illustrations from this series see Goswamy, B. N., and Manaku. Manaku of Guler: the Life and Work of Another Great Indian Painter from a Small Hill State. Artibus Asiae Publishers, 2017, pgs. 146- 167, illustrations C45- C55."

i llu S t R ati O n tO a Raga M ala S e R ie S: tO di Ragini

Provincial Mughal, India 18th century

Opaque watercolor heightened with gold on paper

Image: 18,1 cm x 12,4 cm

Folio: 33 cm x 25,4 cm

Provenance:

Private British collection

Christie’s South Kensington, 1 October 2012, lot 97

Price on request

Obj EC t Pr ESE nt E d by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

Ragas are melodies that serve as templates for improvisation within the ancient classification system of Indian music. While each melody has a certain structure, there are infinite songs that can be produced within each mold. Ragamala (or ‘Garland of Melody’) paintings aim to capture each melody’s mood or sentiment into visual forms, which are categorized into thirty-six male and female personifications—ragas and raginis, respectively. Often focused around ‘love in union’ and ‘love in separation,’ each painting is meant to evoke the feeling or color of the melody rather than a specific narrative, and they are often associated with particular seasons, regions, and times of day.

The present painting depicts Todi Ragini, which is believed to be a song sung by village girls while guarding the ripening fields against deer. The melody is said to enchant the deer, preventing them from feeding on the village crops (Ebeling, 60). Here, Todi Ragini is depicted as a lonely nayika who plays her veena in the forest, surrounded by deer who listen to her song. Expressing the tender longing of separated lovers, the deer that flock to her serve to underscore the woman’s isolation as she plays her somber tune. The flowing green grass, blooming lotus flowers, and brilliant golden sky are meant to evoke the mood of a spring morning, “as the sun’s rays have lit the earth at dawn,” at which time the Todi Ragini is meant to be played. Compare to another Todi Ragini folio circa 1725 at the Philadelphia Museum of Art (acc. 1977-12-1).

References:

Ebeling, Klaus, Ragamala Painting, New Delhi, 1973. Comp:

https://philamuseum.org/collection/object/71176

a g R eat i ndian FRuit B at (F lY ing FOX)

Attributed to the circle of Ghulam

‘Ali Khan (active 1817–1855) Company School, Calcutta, India

Late 18th–early 19th century

Watercolor on Whatman paper

20,8 cm x 34 cm

Provenance:

The collection of William Lipton (d. 2018)

Price on request

Obj EC t Pr ESE nt E d by:

Kapoor Galleries

M.: + 1 (212) 794-2300

E.: info@kapoors.com

W: www.kapoors.com

The Company School of Indian painting came into being as the officers of the British East India Company and their families expanded control in India and became patrons of the arts. As a result, the 18th and 19th centuries saw Indian artists (many of which were trained in the Mughal tradition) adapt their style to suit European palettes, particularly in their interest in science and discovery. This led to the production of stunning images of local flora and fauna which were often compiled into albums by their patrons and taken back to Europe. Within the so-called Company School, there developed two famed artistic circles–the circle of Bhawani Das and the circle of Ghulam ‘Ali Khan—which produced the Impey Album and the Fraser album, respectively. These two albums are largely considered to be the finest examples of Company School paintings ever produced.

Here, the artist has chosen the great Indian fruit bat (Pteropus giganteus) as his subject in this fine and dramatic study. The animal is rendered naturalistically, the artist paying exceptional

attention to detail, most notably in the soft fur, almost-human eyes, and curling claws. In regards to another Company School drawing of the same subject, Stuart Cary Welch points out that “[it] looks far too disturbing to be a strict fruitarian. Its eerie extra claws, useful for holding bananas or mangoes, evoke Gothic horror tales.” Such an evocative subject, which was drawn from life, surely sparked the fascination of this painting’s European patron, who likely wrote the English inscription in the lower right corner, signed JB, recording the subject’s impressive size, “3 feet 9 inches from wing to wing.”

There are three other known Company School illustrations of fruit bats, all of which are attributed to Bhawani Das, who produced extensive natural history studies for Sir Elijah Impey, Chief Justice of Bengal (1774–1782), and his wife, Lady Mary (see William Dalrymple, Forgotten Masters, Indian Painting for the East India Company, London, 2020, p.69–71, figs. 32–34). While the present image is executed on European Whatman paper, as were many other known Impey Album pages with similar illustrations, it is drawn on a much smaller scale, and more closely resembles illustrations produced by the circle of Ghulam ‘Ali Khan. See a folio from the Fraser Album at the British Museum depicting eight Sikh courtiers and servants of the Raja Patiala (acc. 1988,1020,0.1). While quite different in subject, the two images share the softly stippled layering of colors, rounded forms, and subtle naturalism that characterized paintings produced by the circle of Ghulam ‘Ali Khan. While the present image is almost certainly not from the Fraser Album, which consisted majorly of figure drawings and costume studies, it was likely produced by the same group of artists for another patron.

a CRYS tal and g O ld S tu Pa

India

Kushan Period

1 – 3rd century CE

Height: 30 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

A fine crystal stupa that comes in five parts mounted with gold.

BuddHiSt FRieze

Ancient Gandhara region

3rd-4th century

Schist

Height: 25 cm

Provenance:

Jack Masey collection (1924-2016)

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

Carved in schist, in high relief, this frieze depicts a narrative scene from the life of Buddha. The episode is sculpted in the classical Gandhāra style, taking place in an architectural setting. The Buddha is surrounded by draped bodhisattvas facing him. He is depicted as the central figure, at the heart of the scene, and is noticeably larger in stature.

It was in the Gandhāra that the anthropomorphic iconography of the Buddha gradually took hold, breaking with centuries of aniconic tradition. This change should be seen in the context of the development of Mahāyāna Buddhism, which was attracting a larger number of followers. A syncretic style developed, as seen in the use of pilasters and columns surmounted by Hellenistic-style capitals with acanthus motifs, a device well known to the Greeks for dividing up and punctuating the different moments of a narrative, as is the case here.In Gandhāra, art is protean and the style resolutely syncretic, at the crossroads of influences: the clothing style of the figures bears witness to Hellenistic and Roman stylistic influences, sometimes draped in wide garments with quilted folds reminiscent of a toga or himation, sometimes with their muscular torsos left exposed and covered in jewels, thus recalling the nomadic ancestry of the Ku āṇtribes (Guishuang, the Yuezhi tribe that gave rise to the term Ku āṇ).

The elaborate hairstyles and heavy earrings, on the other hand, are typically Indian.This stylistic cosmopolitanism is here a happy characteristic of Gandhāra art; the dual influence of classical Mediterranean and Indian sculpture giving all its charm to this work by endowing it with a strong aesthetic and great historicity.

tWO H andCO l OR ed eng R aV ing S de P i C ting

C H ine S e CO u R t COS tu M e S

Paris, France

17th century (1697)

Engraving and hand painting, ink, colors and gold. Matted and framed behind glass.

Height: 32 cm

Width: 20 cm (visible area within mats surrounding the prints)

Price: 1.500 USD for the pair

These engravings come from a book entitled, “L’Estat present de la Chine en figures, therefore . . . Chine en figures," by Joachim Bouvet (1656-1730), and published by Pierre Giffart (1643-1723), engraver to the King of France.

Joachim Bouvet was one of the first Jesuits sent to the court of the Kangxi emperor by King Louis XIV. He arrived in China in 1687, and returned to France in 1697. The engravings, based on the drawings of Bouvet, present an unusually accurate depiction of courtiers dressed in their official costumes worn at the court of the Kangxi emperor (r. 1661-1722). As a Jesuit who was highly skilled in mathematics and cartography, Bouvet was a valued teacher and advisor to the emperor. He and other Jesuits were hopeful that their sharing of European scientific knowledge would give them the opportunity to introduce the Catholic faith to the Chinese.

Obj EC t Pr ESE nt E d by:

Alan Kennedy

M: +1 646 753-4938

E: kennedyalan@hotmail.com

W: www.alankennedyasianart.com

jade C a RV ing

China 18th century

Nephrite

Length: 5 cm

Provenance:

Mary Morrison, Canada

And 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

A nephrite carving (or pendant) of a water chestnuts and lingzhi with a dragonfly and bat alighting on them, of black and white tones.

Miniature carvings, such as this one, may have been placed on a scholar’s desk as a handling piece or threaded to hang at the belt as a toggle. There is a small group of carvings and snuff bottles all produced from the same type of black nephrite used to fashion this piece. The stone is primarily black with inclusions varying from dark gray to lighter shades including white. This is particularly well-carved using the intricacies of the stone in a manner that brings vibrancy to the carving.

jade C a RV ing

China

18th century

Nephrite

Diameter: 5,2 cm

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

A nephrite carving of even white tone, carved as an openwork, interlaced ‘knot’ pendant with four chilong.

This handling piece, or pendant, is very well carved with details on the dragon’s heads finely rendered. It sits in the hand nicely and the bright white stone has a soft patina to the touch.

jade C a RV ing

China

17th century

Nephrite

Diameter: 14,5 cm

Provenance:

Mary Morrison, Canada

And 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

A nephrite bi disc, of pale-green and russet tones, carved on one side in relief with two coiling dragons, one clutching the tail of the other, the second clutching a branch of lingzhi, the reverse incised with two coiling dragons, their tails entwined.

Bi discs are flat discs with circular holes in the center, sometimes with carving in relief as is the case here. It is said to be a symbol of heaven and are often carved with dragons, representing the emperor, the Son of Heaven. As a counterpoint, jade congs are said to represent the earth.

S nu FF BOttle

China

1780-1820

Nephrite

Height: 7,3 cm

Provenance:

Mary Morrison, Canada

And 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

A yellow nephrite snuff bottle, very well hollowed, of squared form with a cylindrical neck and shallow oval footrim, carved in low relief using the russet skin with a Buddhist lion and her pup.

Nephrite that is truly yellow in color is rare. To hollow out a bottle until it is translucent as this one is would tend to leave the stone weak in color or uneven in tone. Yet this bottle’s color remains strong. The use of the russet skin to depict the playful pup and its mother looking on is skillfully incised. The carver must have been aware that he has created a masterpiece by selecting a superb piece of stone.

19

S H ui Y ue g uan Y in, B O d H i S att Va aVal OK ite SHVa R a in Wate R M OO n

FORM

China

Late Ming period

16-17th century

Gilded bronze

18,3 cm

Provenance:

Sotheby’s London, November 1986

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 richly gilded figure represents Avalokiteshvara, a revered Bodhisattva known for his compassion in Mahayana Buddhism. Shuiyue Guanyin in Chinese, a representation that embodies tranquility, grace, and spiritual purification.

Bodhisattva stands in a relaxed, yet elegant posture, conveying an air of divine serenity and benevolence. The Bodhisattva is adorned with jewelry and a crown. He wears a flowing robe reflecting the opulence of the Ming dynasty and the meticulous craftsmanship of its artisans.

The figure’s right hand holds a water vase, or kalasha, symbolizes spiritual wealth and the cleansing of the mind and body. It is said to contain the nectar of immortality and is often associated with Avalokiteshvara, the Bodhisattva of compassion. The act of pouring water from the vase represents the showering of blessings and purification, an analogy for the Bodhisattva’s compassionate wisdom dispelling the ignorance of suffering beings.

Bodhisattva’s face, with downcast eyes and a gentle smile, exudes an aura of profound contemplation and boundless empathy, true to Avalokiteshvara’s role as the embodiment of boundless compassion. His serene gaze is directed towards all sentient beings, signifying his unwavering commitment to relieving suffering and bestowing blessings.

For more information, please visit www.hollywoodgalleries.com

Budai (aRH at a ngida)

CHINA

LATE MING PERIOD

16-17 TH CENT u RY

GILDED BRONZE ALLOY

11 CM

PROVENANCE:

SOTHEBY ’S

DR PHILLIP AND PATRICIA ADAMS

COLLECTION, AUSTRALIA PRICE ON RE q UEST

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

Budai, also known as the Laughing Buddha, Arhat Angida, manifestation of Maitreya. He is seated in a relaxed posture that embodies his message of contentment and abundance. The heavy-set Budai is depicted with his signature joyous expression, potbelly, and large earlobes, which are traditional symbols of happiness, good luck, and wealth in Chinese culture.

Accompanying Budai are three lively and smaller figures, each crafted with distinct facial expressions and postures. These figures might represent Budai’s disciples or children, embodying his role as a nurturing spiritual guide. Budai’s left hand is seen holding a large jewel, while his right hand holds a mala.

The craftsmanship of this piece captures the cultural and artistic zeitgeist of the late Ming Dynasty (1368-1644), a period known for its advances in literature, performing arts, and philosophy.

For more information, please visit www.hollywoodgalleries.com

F R ag M ent

China Han dynasty (206 BCE–220 CE)

Metal stand

Length: 9,3 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 gilt-bronze fragment depicting the head and neck of a dragon with a snarling expression, the protruding eyes below pricked-back ears.

For a similar Western Han dynasty gilt-bronze cart decoration in the shape of a tiger’s head see The Rise of the Celestial Empire: Consolidation and Cultural Exchange during the Han Dynasty, p. 119.

i n C en S e B u R ne R and S tand

China

Xuande six-character mark

17th century

Width: 18 cm

Overall weight: 3,096 kg

Publication:

Hong Kong Auctioneers & Estate Agency

Ltd., 26th May 1991, lot 325

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 bronze tripod incense burner and stand, the vessel of bombé form with slightly flaring everted rim and two upright handles above three short feet, the stand formed of overlapping leaves on three ruyi-head feet.

For a similar bronze tripod incense burner without stand see National Palace Museum, A Special Exhibition of Incense Burners and Perfumiers Throughout the Dynasties, p. 198, no. 53, and one in Kerr, Later Chinese Bronzes, p. 37, no. 25; another with stand in National Museum of History, Censers, Incense Burners, and Hand Warmers: Wellington Wang Collection, p. 185, no. 154; and a bronze bombé incense burner and stand in Huang (ed.), Jinyuqingyan: Yang Bingzhen xianshengzhencang Mingqing tonglu (Gold Jade, Blue Smoke: Mr Yang Bingzhen’s Collection of Ming and qing Bronze Censers), p. 118, no. 15.

Huang H uali

WOO den S eal

BOX W it H BR a SS

F itting S

China

18/19th century

22 cm X 25 cm X 21 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

a Ca RV ed jade H ORS e

China

Ming/qing Dynasty

17- 18th century

5,25 cm x 2,9 cm x 3,45 cm

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

i n C en S e B u R ne R and S tand

China

16th or early 17th century

Width across handles: 27 cm

Overall weight: 5,5 kg

Publication:

Hong Kong Auctioneers & Estate Agency

Ltd., 26th May 1991, lot 324

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 bronze tripod incense burner and stand, the vessel of bombé form with flattened everted rim, cast in relief with two coiled dragons with bifurcated tails forming the handles above three makara head and paw feet, the circular stand of raised form with flat top and three scrolling feet.

For a bronze gold-splash incense burner with similar handles see Spink & Son Ltd, The Minor Arts of China III, 1987, p. 61, no. 71, and for a very similar bronze incense burner see Huang (ed.), Jinyuqingyan: Yang Bingzhen xiansheng zhencang mingqing tonglu (Gold Jade, Blue Smoke: Mr Yang Bingzhen’s Collection of Ming and qing Bronze Censers), p. 141, no. 45.

lO

ng Cl Ot H W it H

t ig M a 'C ROSS' d e S ign

Northern Bhutan for the Tibet market

19th/very early 20th century

High altitude ultra fine sheep or yak wool. Narrow woven strips conjoined; patterned with striping and and clamp-resist tie-dye

137 cm x 251,5 cm

Price on request

Obj

Thomas Murray

M.: + 1 415.378.0716

E.: thomas@tmurrayarts.com

W.: www.tmurrayarts.com

Tigma, ’cross pattern,’ is an ancient motif known throughout the Tibetan plateau to ward off evil spirits.

By visual inspection, the dyes all appear to be all natural and the condition is perfect.

This cloth is longer than related Bhutanese dresses known as ’hotah jaloh kira.’ It is the finest example I have ever encountered.