The Chinese Imperial Artwork Collections Exhibtion Part Two

MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

THE CHINESE ARTWORK COLLECTION EXHIBTION PART TWO

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A small blue and white porcelain vase. Wanli mark and period. Of pear form with loop and mock ring handles above a pear-shaped body and tall foot, painted with a band of alternating dragons and phoenix and the six-character mark in regular script in a horizontal line on the outside edge of the cupped lip (restored). 6 3/4in (17cm) high. Sold for $26,840, Est. $6,000-8,000. Photo: Courtesy of Bonhams.

SAN FRANCISCO, CA.- Porcelain, bronzes, paintings and jades kept buyers active all day at Bonhams’ Asian Works of Art auction in San Francisco on August 30th. As expected, Chinese works of art led the way, selling one by one to a roomful of Mainland Chinese buyers, eager to repatriate their cultural heritage.A traditionally strong ivory section kept spirits high for the hardstone carvings and jades. The highlight of the jade section was a calcified jade carving of a recumbent horse. Conservatively dated to the 20th century, the strong graceful lines of the delicate, but powerful carving combined with a stunning color of stone for tremendous effect. Potential buyers, both in the room and on the phones, kept the auctioneer at a galloping pace before the piece was finally hammered at $34,160.

 
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A calcified jade carving of a recumbent horse. 20th century. Sold for US$34,160.  Photo: Courtesy of Bonhams.
 
Another, among many highlights, was a finely carved coral branch—a skilled Chinese artisan executed a stunning array of tiny branches and flowers spewing from a vase, with even a little cat hiding amidst the fronds. This imaginative composition smashed all expectations, blooming into a $46,360 purchase price.
 
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A carved coral branch. 20th century. Sold for US$46,360. Photo: Courtesy of Bonhams. 
 
Traditionally a  symbol of the ethics and virtue of statecraft since the Shang and Zhou dynasties, Chinese bronzes and metalwork continued to be de rigeur for a new generation of art connoisseurs eager to prove their virtù. A bronze censer with elephant handles turned out to be a must-have for any new scholar-official in the making. With a base stamped with the honorific Xuande mark deemed essential by Ming dynasty manuals of good taste, this 18th/19th century version of a classic shape fetched a noble price, at $10,980.
 
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A bronze censer with elephant handles. 18th/19th century. Heavily cast with thick walls of bombé form supporting the elephant handles and raised on a flared foot, the recessed base centered with a recessed square with effaced sixteen-character Xuande mark (surface soiling, mark removed); with reticulated wood cover. 13 1/2in (34cm) long. Sold for US$10,980. Photo: Courtesy of Bonhams
 
Dated to a similar period of manufacture, two bronze seals with dragon finials, inscribed ‘the official who proffers and explicates the classics,’ were also sublime examples of Qing dynasty metal work, and were worth every ingot of their purchase price of $15,860.
 
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Two bronze seals with dragon finials. Qing dynasty. The first of square form cast with the inscription Wang De zhi yin (seal of Wang De) and the second of rectangular shape with the inscription jing yan jiang guan (‘the official who proffers and explicates the classics,’ a civil rank within the ruling bureaucracy), the finials similarly cast as a reticulated dragon emerging from clouds. 2 1/4in (5.5cm) high, 1 1/2 and 2 1/8in (4 and 5cm) long. Provenance: E & J Frankel Collection, New York. Sold for $15,860, Est. $4,000-6,000. Photo: Courtesy of Bonhams.
 
The mainstay of the Chinese section was devoted to one of the pinnacle achievements of Chinese art and technology: porcelain. Prices were consistently strong with a small blue and white porcelain vase, mark and period of Wanli, one of the many standouts. This rare textbook Wanli example with sinewy dragons rendered in deep cobalt blue brought $26,840.
 
Reflecting the higher degree of control of both paste and glaze quality in the Qing, a blue and white rouleau vase, was decorated with a tightly composed masterwork of a figural tableau rendered in precisely layered hues. This stylistic opposite of the Wanli piece proved irresistible to buyers as well, bringing a majestic $46,360.
 
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A blue and white porcelain rouleau vase. 19th century. Potted with a cupped rim and cylindrical neck encircled by a raised ridge separating delicately drawn linear patterns, the elongated body displaying a continuous imperial audience scene set within a palace garden. 17 3/4in (45cm) high. Sold for US$46,360. Photo: Courtesy of Bonhams
 
Japanese, Korean and Southeast Asian art also performed well. A painting of Bodhidharma, attributed to the 16th/17th century Japanese artist Kano Koi, was a suitably iconoclastic portrayal of the gruff Indian founder of the Zen school of Buddhism. A telephone bidder helped this piece achieve an enlightening price of $7,320.
 
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Attributed to Kano Koi (c. 1569-1636), Bodhidharma. Hanging scroll, ink on paper; depicting the bearded patriarch in bust portrait, bearing the seal Koi, beneath a four-line Chinese inscription signed Takuan [sho]ro with two seals and dated Kan’ei mizunoe-saru shoto (early winter, 1632); together with an authentication slip by Okura Kosai (1795-1862), dated in accordance with 1847. 39 1/4 x 18 3/8in (99.7 x 46.7cm). Sold for US$7,320.  Photo: Courtesy of Bonhams
 
A two-panel Nihonga school screen, Taisho/Showa period represented a more exotic subject matter of two Indian beauties, which brought a strong price of $5,490. Both of these items will be enticin appetizers for the sale of Fine Japanese Art, as well as the Sartin Collection of Asian Art, featuring fine Himalayan and South Asian Art, both to be offered in our New York showrooms on the 13th of September.
 
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Nihonga school (Taisho/Showa period), Indian beauties. Large two panel screen, ink, colors, and gold on paper; depicting two women wearing richly patterned costumes and elaborate jewelry partially rendered in gold moriage, the seated right figure smoking a hookah while the other reclines on the floral carpet near an earthenware pot and three pineapples, a pair of butterflies flitting through the air above; sealed (illegible) (split hinge). 73 3/4 x 77 1/2in (184.8 x 196.9cm). Sold for US$5,490.  Photo: Courtesy of Bonhams
 
Bonhams will hold its next San Francisco-based Asian Decorative Arts sale on the 15th of November. Highlights will be announced in the weeks preceding the sale. Consignments are invited.

The Chinese Imperial Artwork Collections Exhibition part One

MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

THE CHINESE IMPERIAL ARTWORK COLLECTIONS EXHIBITION

 PART ONE

THE MING IMPERIAL DRAGON FIVECLOWN PLATE

 

JADE SEAL

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Important imperial style ‘double dragon’ white jade seal. Qing dynasty ‘treasure of concern over phenomena at eighty’ . Photo courtesy Freeman’s

Philadelphia, PA) September 10 – At approximately 3:15 this afternoon, with a packed gallery and over 15 phone lines, Freeman’s experienced record success when an important Chinese imperial-style ‘double dragon’ white jade seal was realized at just over $3.5 million. This Qing Dynasty seal, with a pre-sale estimate of $30,000-50,000, was sold to an in-room bidder by auctioneer and Asian department head Robert Waterhouse.

“The ‘imperial-style’ jade seal was, of course, very popular at exhibition and we knew it was going to do well, but only the bidders could determine whether or not it was truly imperial. The multi-million winning bid was an over-whelming validation for us,” said Asian Arts Associate Specialist Richard Cervantes,

Freeman’s President Paul Roberts commented from the phone-bid table, soon after the hammer fell, “this is not far from the total turnover for Freeman’s 12 years ago. The sale will have realized over $5 million by the time we are through, thus setting a new turnover record in a single day.”

Roberts may or may not have anticipated that results would in fact surpass $7 million.

Says Samuel “Beau” Freeman, Chairman, “We couldn’t be happier. It just goes to show that Philadelphia is an international hub, and that Freeman’s can produce results meeting and exceeding our competitors for choice pieces. It’s thrilling to be a part of an auction like this.”

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Important imperial style ‘double dragon’ white jade seal. Qing dynasty ‘treasure of concern over phenomena at eighty’

A celadon and russet jade seal. 17th century

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 “The Emperor’s Private Paradise: Treasures from the Forbidden City”

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Panel (hanging). From Yanghe Jingshe Cloisonné and zitan, 57 ¼ x 29 ¾ inches (145.5 x 75.5 cm).

 Objects and artwork from the Forbidden City’s hidden inner sanctum, a sealed off compound built in high luxury for the Chinese emperor’s retirement, will be unveiled in Driwancy7bermuseum now.

“The Emperor’s Private Paradise: Treasures from the Forbidden City”

The show features 90 objects from the 27-building garden sanctuary, built at Emperor Qianlong’s request in the northeast corner of Beijing’s Forbidden City.

Known as the Qianlong garden, the compound was supposed to be for the emperor’s retirement, but he never relinquished the throne and the space remained unchanged and unoccupied since its 1776 completion.

It is made up of separate buildings meant for different activities, such as the “supreme chamber of cultivating harmony,” or the “building of luminous clouds.”

This secret garden, which curators said showcased the epitome of late 18th century Chinese skill, has remained closed to the public since it was built. It has been undergoing restoration since 2001, with expected completion in 2019.

Curators said on Monday that the exhibition was a unique opportunity to view the objects since they would likely return to China never to travel again.

“The garden was meant to be a lasting testimony to the efficacy of his (the emperor’s) rule,” said Maxwell Hearn, the curator of the exhibition. “Every surface was embellished with the finest workmanship, the most precious materials imaginable.”

The show regroups Buddhist icons, murals, furniture, decorative objects and painted scrolls that have been restored.

But as much as the Qianlong garden embodied the height of late 18th century Chinese craft, it also showcases various Western influences.

Traditional motifs of the bamboo, plum tree blossoms and pine trees in one representation are juxtaposed to lavishly decorated screens inlaid with glass, a Western import. Western techniques of proportion and representation are incorporated into some of the scrolls.

But beyond decorative aspects Western influence was kept somewhat at bay, Hearn said. Although every European country competed for his favor in order to get access to trade routes, the emperor failed to grasp Europe’s rise.

“Because this emperor was so surrounded by the wealth of his environment, he failed to understand the importance of bridging East and West,” Hearn said. “That was the myopic vision of the emperor.”. (Reporting by Basil Katz; Editing by Patricia Reaney)

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Portrait of the Qianlong Emperor (1711–1799). Hanging scroll; ink and colors on silk; Image: 99 5/8 x 59 1/16 in. (253 x 150 cm); Overall: 148 7/16 x 78 3/8 in. (377 x 199 cm). Lent by the Palace Museum, Beijing

This grandly scaled depiction of the Qianlong Emperor is one of several nearly identical formal portraits that were made for ritual use in the Imperial Ancestral Hall and elsewhere in the palace. In keeping with Chinese conventions of physiognomy, Qianlong’s face is fully frontal; only his arms break with the otherwise rigid symmetry of his pose. However, the subtle use of light and shade to model his facial features as well as the folds of his robe reveal the influence of Western-style pictorial techniques, which Qianlong favored for portraiture and other documentary or commemorative purposes.

Despite his idealized features, the emperor’s advancing age is quite apparent. However, seated on a golden dragon throne and dressed in his robes of state, his lifesize portrait still conveys an imposing sense of imperial majesty.

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Portrait of the Qianlong Emperor in Ancient Costume. Hanging scroll; ink and colors on silk; Image: 98 13/16 x 53 15/16 in. (251 x 137 cm). Lent by the Palace Museum, Beijing

The Qianlong Emperor was a master in using Western-style illusionistic images of himself in different guises to create alternate personae. Here, the youthful emperor had himself portrayed as a cultured Chinese scholar. Sitting in his study appointed with classical Chinese-style furniture, he is poised, brush in hand, to transcribe a poem onto a banana leaf. The only detail that distinguishes him from a traditional scholar is his ornate robe covered with auspicious motifs of flowers and cranes in bright, contrasting colors.

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Interior Scene. From the Supreme Chamber for Cultivating Harmony (Yanghe Jingshe). Ink and color on silk; Image: 10 ft. 8 in. x 10 ft. (325.1 x 304.8 cm). Lent by the Palace Museum, Beijing

Introduced to China by Jesuit missionaries, European-style perspectival paintings were appreciated not only as a playful entertainment but also as a device for “expanding” the intimately scaled rooms the Qianlong Emperor favored for his personal living quarters. In addition to using realistic, Western-style portraiture techniques to present himself in different roles—Manchu warrior, Chinese scholar, or Buddhist sage—the emperor delighted in using Western pictorial devices to create illusions such as this trompe-l’oeil (“fool the eye”) mural, which would have been painted by a Chinese artist from the imperial workshop who had been trained by European missionary artists.

The mural offers a true-to-life glimpse into many of the rooms within the Qianlong Garden. In the foreground an ornate doorframe set with pictorial inserts—an example of which is on display in the adjacent gallery—frames a view of an elegantly coiffured lady offering flowers to a child. Resting upon an altar table set against the back wall are a bronze ritual vessel, bound books, and vases of bronze and porcelain; behind the table hang three paintings. The central landscape is a hanging scroll so tall that its mounting has been attached to the ceiling, thus underscoring the small scale of the residential rooms. Flanking the scroll are two vertical paintings that have been pasted directly onto the wallpaper—another typical decorative strategy of the era. Side entrances to the room are concealed behind blue-and-green cloth curtains.

Very few examples of trompe-l’oeil murals from the 1700s have survived in situ in the Forbidden City. This example is one of three such paintings that were recently cleaned and relined with supportive backing papers by Palace Museum conservators.

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Partitions and Entablature. From the Belvedere of Viewing Achievements (Fuwangge). Purple sandalwood (zitan) and cloisonné with inset paintings and calligraphies on silk; Overall: 12 ft. 1/2 in. x 11 ft. 3 1/16 in. x 25 9/16 in. (367 x 343 x 65 cm). Lent by the Palace Museum, Beijing

This assembly framed one of the thrones facing each of the four cardinal directions on the first floor of the Belvedere of Viewing Achievements, the Qianlong Garden’s largest and tallest building. In the late 1800s, the powerful Dowager Empress Cixi (1835–1908), as mother of the Tongzhi emperor (r. 1861–1875), was entitled to live in the Tranquility and Longevity Palace and enjoy the Qianlong Garden. She redecorated some of the buildings for her sixtieth birthday celebration in 1895. She replaced the original paintings and calligraphies on these partitions with works by her own court artists and officials.

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Ornamental Lingbi Rock. From the second courtyard, before the Hall of Fulfilling Original Wishes (Suichutang). Limestone; H. 25 1/2 in. (64 cm); W. 44 1/8 in. (112 cm); D. 15 3/4 in. (40 cm). Lent by the Palace Museum, Beijing

The Qianlong Emperor was an aficionado of rocks. This example is one of four placed on pedestals in the second courtyard of the garden.

In China, connoisseurship of rocks was comparable to that of knowledge of painting and calligraphy. Favored specimens were prized for their dynamic forms, numerous perforations, and wrinkled surfaces. Larger rocks were often placed on pedestals in the manner of sculptures; smaller examples were displayed indoors on wooden stands. This specimen, with a striking jagged silhouette and deep-fissured surface, embodies a popular maxim: “Although they are really just fragments of mountains and chunks of stone, they should have a feel of the wilderness about them.”

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Panel. From the Studio of Exhaustion from Diligent Service (Juanqinzhai). Sandalwood, jade, lapis lazuli, malachite, purple sandalwood (zitan), and glass; H. 43 1/2 in. (110.5 cm); W. 75 3/4 in. (192.3 cm); D. 3 1/4 in. (8.3 cm). Lent by the Palace Museum, Beijing

The plum, which blooms in late winter—about the time of the Chinese New Year—traditionally heralds the coming of spring. It symbolizes purity and the ability to thrive untainted even in harsh times. For fifteen hundred years, the flower in all its stages of growth has been a common motif in Chinese painting and poetry. Many furnishings in the Qianlong garden incorporate representations of blossoming plum delicately wrought from precious materials. This panel, depicting a thousand-year-old tree in full bloom, was presented as a gift to the emperor with wishes for longevity.

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Panel. From the Supreme Chamber for Cultivating Harmony (Yanghe Jingshe). Cloisonné and purple sandalwood (zitan); Overall: 57 1/4 x 29 3/4 in. (145.4 x 75.6 cm). Lent by the Palace Museum, Beijing

In 1776, the Qianlong Emperor held a grand banquet to celebrate the completion of the Tranquility and Longevity Palace (Ningshougong) and its garden. The event coincided with the New Year and the eighty-fifth year of his mother’s birth. Musical and operatic performances took place on a new three-story outdoor stage—the largest in the Forbidden City—called the Pleasant Sounds Belvedere, which is located just beside the Qianlong Garden. One year later, his mother passed away and, as a memorial, the emperor commissioned this sumptuous panel depicting the celebration.

Lush trees and exaggerated mountainlike rockeries encircle a courtyard where courtiers look on as actors perform on an open-air stage. Low Manchu-style tables set with small dishes for the banquet line the left side of the compound. Spiral and floral patterns surrounding the inscription enhance the golden sky. Colorful buildings express the exuberant feel of the newly minted palace and its garden.

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Qianlong Emperor (1711–1799; r. 1736–95), Calligraphic Inscription, dated 1776. From the Belvedere of Viewing Achievements (Fuwangge). Ink on paper; Image: 37 x 73 1/4 in. (94 x 186 cm). Overall with mounting: 38 3/8 x 76 in. (97.5 x 193 cm). Lent by the Palace Museum, Beijing

An avid calligrapher, the Qianlong Emperor developed a distinctive style characterized by regularity and restraint. Inscribed on gold-painted paper made specifically for the court, this text describes his anticipation of retirement.

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Wei Heling (act. late 18th century), Landscape. From the Supreme Chamber for Cultivating Harmony (Yanghe Jingshe). Hanging scroll; ink and colors on paper; Image: 79 15/16 x 29 3/4 in. (203 x 75.6 cm). Lent by the Palace Museum, Beijing

Many buildings within the Qianlong Garden were decorated with calligraphies or paintings that were pasted directly onto the wallpapered surfaces of interior walls—a practice that became especially popular in the 1700s. In its original location, this tall vertical panel functioned as a fake door (jiamen); a cloth valance above it furthered the illusion that the landscape was painted on a curtain covering a doorway.

The landscape, by a little-known court painter, evokes antique prototypes as reinterpreted by Wang Hui (1632–1717), the early Qing artist whose painting style became the orthodox model for later court painters.

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Brush pot. Jade; H. 5 7/8 in. (15 cm); W. 5 1/2 in. (14 cm). Lent by the Palace Museum, Beijing

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Container. Carved cinnabar lacquer; includes album of forty two paintings and calligraphies by the Qianlong Emperor; H. 6 7/8 in. (17.5 cm); W. 6 5/16 in. (16 cm); D. 3 15/16 in. (10 cm). Lent by the Palace Museum, Beijing

This carved lacquer container for storing miniature paintings, among them the two scrolls on view in the exhibition, has been fashioned in the shape of several handscrolls and albums piled atop a stand. Such cleverly designed boxes concealing other works of art were a favorite amusement of the Qianlong Emperor.

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Throne. From the Supreme Chamber for Cultivating Harmony (Yanghe Jingshe). Purple sandalwood (zitan), bamboo, jade, semiprecious stones, and lacquer; H. 38 1/2 in. (98 cm); W. 46 1/4 in. (117.5 cm); D. 33 1/16 in. (84 cm). Lent by the Palace Museum, Beijing

This throne incorporates the collaborative efforts of many different craftsmen. Furniture makers designed the basic mortise-and-tenon structure, while lacquer specialists and painters decorated the panels with gold and colored lacquer. Bamboo experts sliced stalks into threads that they then dyed and arranged into geometric marquetries; they also removed the inner skin of the bamboo to create a flat, carvable surface, which was adhered to the seat in a pattern of plum blossoms floating on cracked ice. Woodworkers fashioned tropical purple sandalwood into branches and stems, while stonemasons shaped blossoms of semiprecious stones and mother-of-pearl for the backrest. As a final touch, jade carvers created dragon ornaments for the front corners of the seat.

As artisans skilled in these traditional techniques were needed for conservation, authorities at the Palace Museum sent notices to cultural bureaus across the country. He Fuli, an elderly craftsman from Dongshan County, Zhejiang Province, knew how to fabricate bamboo-thread marquetry, and he traveled to Beijing to assist and teach others the craft. Together with Palace Museum lacquer specialists and expert jade carvers, they restored the throne to its original state.

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Screen of Sixteen Double-Sided Panels. From the Building of Luminous Clouds (Yunguanglou). Purple sandalwood (zitan), lacquer, jade, and gold paint; Each panel with legs: H. 84 in. (213.4 cm); W. 28 in. (71.1 cm); D. 2 1/2 in. (6.4 cm).. Lent by the Palace Museum, Beijing

This set of sixteen jade-inlaid panels depicting luohans, the enlightened disciples of the Buddha, was built into a niche within of the Building of Luminous Clouds. When Palace Museum conservators removed the screen for restoration, they discovered that the backs of the panels were sumptuously decorated with symbolic botanical motifs that had been hidden for more than two hundred years. The bizarre figures on the screen are based on paintings of the sixteen luohans by the monk-artist Guanxiu (832–912), who claimed that the images had come to him in a dream. The figures’ grotesque forms are perhaps meant to convey the idea that one cannot judge someone’s spiritual achievement by external appearance alone.

The Qianlong Emperor saw these paintings in Hangzhou while on his southern inspection tour of 1757 and had a court artist make copies. Inspired by the emperor’s visit, the temple abbot had artisans replicate the paintings in stone so that rubbings of the images could be disseminated. Years later, a provincial governor sought to curry favor with the emperor by commissioning this screen after the rubbings. Consequently the emperor ordered the construction of a special niche to house the gift within the Building of Luminous Clouds.

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Mandala. Cloisonné H. 22 1/2 in. (57 cm); Diam. 19 in. (48.2 cm). Lent by the Palace Museum, Beijing

A mandala is an abstract diagram of the universe used in Buddhist meditation. While they most commonly take the form of painted or woven hangings, the Qianlong Emperor commissioned a number of luxurious three-dimensional cloisonné mandalas.

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Hanging Panel with Niches. From the Building for Enjoying Lush Scenery (Cuishanglou). Purple sandalwood (zitan), painted and gilt clay, and colors on silk; Overall: 63 x 36 5/8 x 2 15/16 in. (160 x 93 x 7.4 cm). Lent by the Palace Museum, Beijing

The Qing dynasty emperors adhered to a form of Esoteric Buddhism practiced in Mongolia and Manchuria as well as in Tibet. In this highly structured panel, three-dimensional painted-clay figures (known in Tibetan as tscha tscha) represent Buddhist deities, teachers, and other beings. The two largest figures depict the emperor as an emanation of Manjushri, the Bodhisattva of Enlightened Wisdom, and as a chakravartin (literally, “wheel-turning-king”), a just ruler who brings peace and prosperity to his subjects. In the large round aperture in the sky above the emperor is his Buddhist mentor Rolpay Dorje, and farther above is Tsongkhapa (1357–1419), founder of the Yellow Hat sect of Tibetan Buddhism to which the emperor subscribed. The finely delineated building, flowers, rocks, and mountains reflect Chinese painting traditions and suggest that the shrine was produced in the imperial workshops.

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Statues of Amitabha and Stand. From the Building for Enjoying Lush Scenery (Cuishanglou). Gilt copper and purple sandalwood (zitan); Overall: H. 57 22 7/16 in. (57 cm); W. 39 9/16 in. (100.5 cm); D. 8 1/4 in. (21 cm). Lent by the Palace Museum, Beijing

This set of five gilt statues of the Amitabha Buddha as well as the purple sandalwood altar are part of the paraphernalia used in ritual practices that took place in the Building for Enjoying Lush Scenery.

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Shrine and Statue of Jingang (Vajrayaksk). From the Building for Enjoying Lush Scenery (Cuishanglou).. Painted Yingde stone, gilt copper, silver, and glass; Shrine: H. 15 5/8 in. (39.7 cm); W. 11 in. (28 cm); D. 7 1/2 in. (19 cm); Statue: H. 5 1/8 in. (13 cm). Lent by the Palace Museum, Beijing

Contained within an elaborately worked silver shrine, this statue of a Tibetan Buddhist guardian deity was carved from a stone quarried in Guangdong Province, which was then painted and embellished with a gilt-copper crown and implements.

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Window. From the Three Friends Bower (Sanyouxuan). Purple sandalwood (zitan) and glass; H. 55 1/4 in. (140.4 cm); W. 80 5/8 in. (204.8 cm); D. 3 9/16 in. (9 cm). Lent by the Palace Museum, Beijing

This massive window frame is carved with representations of pine, bamboo, and blossoming plum—the Three Friends of Winter. The window is typical of the extravagant use of luxurious materials that went into the construction of the garden. Carved from precious purple sandalwood (zitan), the middle of this panel was slotted to receive a large sheet of glass, a rare commodity in the eighteenth century. Sitting in the Three Friends Bower, the Qianlong Emperor would have thus been able to gaze through this window to the rockeries beyond.

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Chair. From the Purification Ceremony Pavilion (Xishangting). Rootwood; H. 41 1/2 in. (105.4 cm); W. 23 1/2 in. (59.7 cm); D. 29 in. (73.7 cm). Lent by the Palace Museum, Beijing

Chinese paintings from as early as the eleventh century depict Buddhist and Daoist figures seated on rustic rootwood chairs as a way of suggesting their indifference to worldly goods and their synchrony with the natural forms of the cosmos. By the Ming dynasty (1368–1644), members of the urban elite had begun to commission furniture carved to resemble naturally contorted roots. Imperial inventories record that rootwood chairs and tables furnished the Purification Ceremony Pavilion in the garden’s first courtyard. The name and design of this structure refers to ancient purification traditions associated with a poetry-writing contest in which players would sit by a stream, drink from wine cups floated down a waterway, and write poems. In the Qianlong Garden, an abstracted watercourse—connected to a well—was channeled into a stone floor so that the emperor and his companions could reenact the tradition.

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Pair of Screens. From the Three Friends Bower (Sanyouxuan). Purple sandalwood (zitan), glass, jade, agate, and crystal; Each: H. 82 11/16 in. (210 cm); W. 41 3/4 in. (106 cm); D. 23 5/8 in. (60 cm). Lent by the Palace Museum, Beijing

These imposing screens epitomize the high level of craftsmanship, as well as the lavish use of materials, found throughout the Qianlong Garden. They also demonstrate how all the furnishings in a given space might be dedicated to a single auspicious theme, such as the “three friends of winter”—traditional emblems of a long, vigorous life. The incorporation of glass into the panels reveals the emperor’s delight with the material, newly imported from Europe.

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Vase. Porcelain; H. 13 3/8 in. (34 cm); Diam. 4 13/16 in. (12.3 cm). Lent by the Palace Museum, Beijing

This polychromatic vase is decorated with a narrative scene of four old men conversing under a pine tree in a garden setting. It may refer to the four historical figures collectively known as the Hoary Four of Mount Shang, renowned scholars who spent most of their lives in reclusion due to their discontent with the political situation during the dynastic change from Qin (221–206 B.C.) to Han (206 B.C.–A.D. 220). They have been esteemed as models of the reclusive literati ideal. The vividly rendered figures and landscape motifs in multiple colors attest to the technical proficiency of ceramists during the Qianlong period.

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Pair of Cabinets. From the Bower of Purest Jade (Yucuixuan). Wood, lacquer, and gilding; Each: H. 46 7/8 in. (119 cm); W. 34 7/16 in. (87.5 cm); D. 14 3/16 in. (36 cm). Lent by the Palace Museum, Beijing

The Qianlong Emperor’s interest in foreign techniques and aesthetics was not limited to Europe. Like his father and grandfather, he was also intrigued by certain Japanese arts, particularly the styling of gold designs on black lacquer. The decoration on these cabinets includes depictions of Japanese-style figures enjoying a spring picnic by a river.

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Partitions. From the Building for Enjoying Lush Scenery (Cuishanglou). Purple sandalwood (zitan), bamboo, and painted glass; Overall: 77 15/16 x 77 3/16 x 2 15/16 in. (198 x 196 x 7.5 cm). Lent by the Palace Museum, Beijing

The frosted glass panels in these interior partitions, painted to resemble embroidered silk, allow light to enter a room even when they are closed.

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Vase.. Porcelain with malachite glaze; H. 12 3/16 in. (31 cm); Diam. of base 4 7/8 in. (12.4 cm). Lent by the Palace Museum, Beijing

This lavishly decorated vase features a realistically rendered sash tied at the ends. Its trompe-l’oeil accuracy rivals that of European murals painted according to rules of mathematical perspective.

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Pair of Table Screens. From the Building for Enjoying Lush Scenery (Cuishanglou). Purple sandalwood (zitan), glass, silver foil, and paint; Each: 26 3/8 x 28 3/8 in. (67 x 72 cm). Lent by the Palace Museum, Beijing

Just as European consumers delighted in chinoiserie, including fanciful depictions of Chinese people and architecture, this pair of screens showing a European-style landscape and cityscape attests to the Qianlong Emperor’s similar fascination with foreign subjects.

While European traders in the southern port of Guangzhou (called Canton by Europeans) commissioned Chinese artists to reproduce reverse glass paintings such as these for export, these two examples were, apparently, produced for the Chinese court. Such screens, backed with silver foil, would have served to both protect and reflect the light from desk lamps or candles.

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Clock. Gilt copper, enamel, and glass; H. 41 5/16 in. (105 cm); W. 24 13/16 in. (63 cm); 22 1/16 in. (56 cm). Lent by the Palace Museum, Beijing

The Qianlong emperor was very fond of European clocks with their intricate internal mechanisms. Europeans, eager to gain his favor, brought him numerous complex examples, which he included among his collection of traditional Chinese masterpieces.

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Table Screen. From the Building for Enjoying Lush Scenery (Cuishanglou). Purple sandalwood (zitan), glass, silver foil, and paint; Overall: H. 41 9/16 in. (105.5 cm); W. 25 3/8 in. (64.5 cm); D. 12 5/8 in. (32 cm). Lent by the Palace Museum, Beijing

This table screen, which served to protect a lamp or candle from drafts, features a European couple in a landscape—a clear indication of the Qianlong Emperor’s fascination with foreign motifs and styles. It was probably a gift from an official in Guangzhou (called Canton by Westerners), where European traders had long commissioned Chinese artists to reproduce European-style reverse-glass (“eglomise”) paintings for export to Europe. This ancient Roman technique involves drawing onto the back of a piece of glass and then laying down a sheet of silver leaf, which turns unpainted areas into a mirrorlike surface.

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Throne with Footstool. From the Belvedere of Viewing Achievements (Fuwangge). Purple sandalwood (zitan) and cedar; Throne: H. 44 1/8 in. (112 cm); W. 50 3/16 in. (127.5 cm); D. 31 5/16 in. (79.6 cm); Base: H. 20 1/2 in. (52 cm); Foot stool: H. 6 1/8 in. (15.6 cm); W. 25 1/4 in. (64.2 cm); D. 12 3/4 in. (32.3 cm). Lent by the Palace Museum, Beijing

This grand throne is lavishly decorated with intricate curves along its top edges. The finely carved ornamentation on the back and side panels depicts deer in a mountain landscape with pine trees, leafy bushes, and grass. While the pine symbolizes longevity and the virtue of perseverance, the deer is associated with Buddhist paradise and is a homophone for the Chinese character for “successful career.”

 

A fine Imperial yellow-ground silk Throne Cushion Cover. Qing dynasty, 18th century

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A fine Imperial yellow-ground silk Throne Cushion Cover. Qing dynasty, 18th century. Photo Sotheby’s

finely embroidered in polychrome silks with a central medallion of nine peaches surrounded by cranes in flight amidst wispy two-tone blue clouds, each grasping a bamboo stalk in its beak, the border with rolling and cresting waves centered on pierced rocks and celestial peaks, all on a muted gold ground. Height 50 in., 127 cm; Width 51 in., 129.5 cm. Estimate 70,000-90,000 USD

PROVENANCE: Spink & Son Ltd., London, 1989.

EXHIBITED: Spink & Son Ltd., The Minor Arts of China IV, London, 1989, p. 111, cat. no. 148.

Fine Classical Chinese Paintings, the first dedicated New York auction in this category for over a decade. The sale is made up of 80 diverse works from the Ming and Qing dynasties, as well as a small selection of modern and contemporary works that were executed clearly in the classical manner. The pre-sale exhibition opens on Friday 9 September.

The sale is led by Running Script Transcription of an Epitaph, written for Minister Chen Xinyi by Dong Qichang who is known as the most influential artist of his time (lot 47, est. $200/300,000).* The eight-leaf album, which has been expertly kept in its original 1850s mountings, was appraised by its then famed collector Kong Guangtao as “…genuinely stately and thoughtful in spirit, so fluid and elegant as if executed with divine power”.

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Dong Qichang (1555-1636), Running Script Transcription of an Epitaph, written for Minister Chen Xinyi .  Photo: Sotheby’s

igned Dong Qichang, inscribed, with two artist’s seals, zong bo xue shi, dong shi xuan zai, and ten collector’s seals, ting yu, zhuang lie bo zhang, wu chen jin shi shi xue ling nan, ceng zai jing yin cao tang, wu lin weng shi shen ding ji, song nian mu shang, tian nan sheng yi, nan hai kong guang tao shen ding jin shi shu hua yin, shao tang han mo, yue xue lou jian cang jin shi shu hua tu ji zhi zhang, shao tang mo yuan. Inscribed by Li Tingyu and Kong Guangtao; ink on paper, album of eight leaves ; each 35.2 by 31.7 cm. 13 7/8 by 12 1/2 in. (8). Estimate 200,000-300,000 USD

PROVENANCE: Famous 19th Century Collector Kong Guangtao

Chang Pi-han (Zhang Bihan), Piedmont, California

LITERATURE: Yuexueloushuhualu, Vol. 4, Kong Guangtao (ed.), Preface 1861, p. 125-127

Dong Qichang xinian, Ren Daobin (ed.) (Beijing: Wenwu chubanshe, March 1988), p. 197.

Floating Studio: the Role of Water Travel in Chinese Calligraphy and Painting , Fu Shen, published in Meishushi yanjiu jikan (Journal of the Study of Art History), no. 15 (Taipei, 2003), p. 273.

NOTE

Artist’s inscription: 

The Vice Minister of Justice makes this calligraphy of Epitaph a present for Minister Chen Xinyi.

[Text of the stele not recorded.]

Granted the titles of Tongyi Daifu based on the Jinshi rank as well as Minister of Zhanshifu at the Ministry of Rites, assisting the affairs at the imperial household, and also Academician Reader-in-waiting at the Hanlin Academy, who later received the orders to compile and edit the historical records from the former two dynasties and document the imperial chronicles. The Lecturer of the Imperial Household Dong Qichang.

Collector’s inscriptions:

[Li] I have reviewed quite a lot of Xiangguang’s writing. However, I have never seen such an unusual and peculiar piece. Both the present work’s calligraphy and text are wonderfully refined, probably equaling the stylistic quality of Zhengzuo tie and Erji gao. People are so enchanted by these two masterpieces that they might not realize how similar they are to each other. Master Chen Xinyi is an honest and thoughtful man, who was a great literatus with status in Ming times. After his passing, his virtues and reputation were even more highly regarded by everyone. Generally speaking, people skilled in calligraphy are usually willing to write for others. It’s wonderful that this is such a powerful piece. After reviewing it several times, I simply became more impressed and in awe. The time is the end of the tenth month of the fall, in the year dingyou (1837). I was shown this album and asked to give an inscription. I may not be well-versed in the field of calligraphy, but upon opening the work, I can determine that this is a piece of the finest quality in the tradition of Jin and Tang, even though I cannot expound upon such distinct features at great length.Please correct me immediately so that I know whether my remarks are appropriate or not.

Recorded by Runtang Li Tingyu.

[Kong] Over my entire life, I’ve already reviewed several hundred examples of Wenmin’s work. Many of them appear unnecessarily fast and slick. But this piece is genuinely stately and thoughtful in spirit, so fluid and elegant as if executed with divine power. Compared with the brushwork of Zuowei tie, one can see that it is written in the style of Zhao Mengfu combined with the basic structure of Yan Zhenqing, which seems to further enhance the remarkable presence of the writing. This is not a regular work by Dong, many of which do not even come close to this piece. I have recently examined another example of Dong’s writing, Shengzhu de xiancheng song, which was once in Emperor Qianlong’s Shiqu imperial collection. The writing of that piece displays grace and poise, while this present one possesses vigorous and assertive spirit; both of them can be regarded the best of Dong’s calligraphic works. The day of Chongjiu Festival, the ninth day of the ninth month of the year wuwu, reign of Xianfeng (October 15, 1858). Intoxicated by drinking the chrysanthemum wine, I washed the inkstone in order to try out my new brushes. Written in Yuexue lou studio by Nanhai Kong Guangtao.

Chen Yumo, literary name Mengwen, studio name Xinyi, a native of Renhe, Zhejiang province. A Jinshi in the year Chen Yumo, literary name Mengwen, studio name Xinyi, a native of Renhe, Zhejiang province. A Jinshi in the year the office of Supervisor of Jiangxi province and retired as the Vice Minister for the Ministry of Justice. He died in the eighth month of the year 1622.

Both Ren Daobing and Fu state that this work was executed in the eighth lunar month of the year dingchou of the Wanli reign (1577), he was first assigned the secretariat position of Zhongshu, and later promoted to the office of Supervisor of Jiangxi province and retired as the Vice Minister for the Ministry of Justice. He died in the eighth month of the year 1622. 

Both Ren Daobing and Fu state that this work was executed in the eighth lunar month of the year 1622.

 This album was in the collection of Yuexuelou assembled by Kong Guangtao and his family from Nanhai. It is recorded in juan 4 of the four-volume Record of Paintings and Calligraphy in the Collection of Yuexuelou published in the eleventh year of Xianfeng reign (1861). The album retains its original mounting and original wooden box. The work’s title is inscribed on the front of the box and again on the side, which reaffirms that this piece was cherished by the Kong family.

The writer of the titleslip is Meng Hongguang, literary name Pusheng, sobriquet names Yinjue jushi, Xiaomeng  Shanren, Lujian Zhenren, and studio names Zhuanchou lu, Meixuexuan, etc. Meng, a native of Zhejiang, resided in  Panyu, Guangdong province. He became a provincial graduate in the jiawu year of the Daoguang reign (1834). With  his encyclopedic knowledge and photographic memory, Meng devoted his life to teaching, at one time running a private school in Guangzhou. He excelled in poetry and linguistics, and was good at calligraphy and seal carving.  Meng also befriended Chen Li because of their common interest in the study of epigraphy. His published works include the Collected Poems by Lujian Zhenren, and the Seals of Meixuexuan.

Li Tingyu (1792-1861), literary name Runtang, and studio name Heqiao, a native of Fujian, served as the commanderin-chief for Fujian Navy and fought alongside Lin Zexu in the Sino-British Opium War. Well versed in both military and literary matters, Li excelled in painting orchids, and was fond of collecting painting, calligraphy, seals, and ink stones. He authored books on both military and literary subjects, including A New View of Territorial Sea of the Seven Provinces and Record of Inscriptions on Paintings and Calligraphies by Meiyintang, etc.

Chang Pi-han (Zhang Bihan), studio name Jing Yintang, a native of Jiading, Jiangsu province, graduated from Hujiang University in Shanghai. He was a famed collector, connoisseur, and artist. He studied with Zhao Mengsu, a local master from the age of thirteen; later, he studied under the tutelage of Wu Hufan and Feng Chaoran. In the 1940s, he co-founded Lüyishe (Green Ripple Society) along with Ying Yeping, Wang Jiqian, Xu Bangda, and others. He immigrated to Hong Kong in 1948, and taught at the Department of Fine Arts at the New Asia College, Chinese University of Hong Kong, from 1957 until his retirement in 1974. At the end of 1970s, he immigrated to California. Chang Pi-han’s in-depth study of Classical Chinese paintings and connoisseurship earned him the role of consultant to the Hong Kong Art Museum. His collection of paintings and calligraphies from Ming and Qing dynasties were well known at the time. Among his published works is Collected Works by Chang Pi-han.

Thatched Hut in Autumnal Mountains by Dong Bangda, who was admired and highly praised by Emperor Qianlong, is a further highlight (lot 23, est. $180/250,000). The grandly composed landscape executed on silk conveys such free, refined brushwork that it is conspicuous among the artists repertoire.

Dong_Bangda___

Dong Bangda  (1699-1769),  Thatched Hut in Autumnal Mountains. Photo: Sotheby’s

signed Dongshan di Dong Bangda, dated guihai (1743), and with three seals of the artist, dong bang da, fu cun, yong zhuo, and four collector’s seals, lai jiang pan shi lian zhen cang, nan yai zhen cang, lu he liu shi zhen shang, zhao xiang; ink on silk, hanging scroll, 128.7 by 71 cm. 50 3/4 by 28 in.  1743. Estimate 180,000-250,000 USD

NOTE.

Label inscription:

An exquisite work of ink landscape painting by Dong Dongshan of the Qing dynasty. Inscribed by Tuiweng

Artist’s inscription:

Wild rivers paired with the sky, clear and crisp,

Autumnal woods, tinted with the yellow glow of daylight;

The hermit wonders who is to keep him company,

The gull and heron are unaware of each other’s presence.

In the year of guihai (1743), ten days after the summer solstice, [I] imitated the brushwork of Dachi Daoren (Huang Gongwang) and made this piece. [I then] asked the venerated grand senior Mr. Xingweng to review and comment on it. Your brotherly junior Dongshan Dong Bangda.

Collector’s inscription:

Mr. Jimen and I are from the same hometown and associated with the same societies, and like me, he also resides in the old capital city, where we have remained friendly with each other for over thirty years. [He] is skilled in calligraphy and painting and possesses remarkable ability in collecting. I myself am also fond of acquiring the art works left by the past scholar artists in our Zhejiang region. On one occasion, I showed him the landscape painting of Dong Wenque from Fuyang. We unrolled the scroll, together admiring it, which received high praise [from him]. Any object’s best destiny is to find its befitting place and the bestowed owner as a keepsake. I therefore bring over this piece and make it a present in order to commemorate our mutual appreciation in all art works of ink and brush.

On the third day of the third lunar month in the year dinghai (1947).

Remarked after returning from viewing the blooming flowers in the mountains

Tuigu, [your brotherly junior] Zhou Zhaoxiang.

LITERATURE: Yilin yuekan, no. 72 (Beijing: Art World Monthly Journal, December 1935), p 2.

Yilin yuekan (Art World Monthly) was launched in 1930. It was originally published three times a month and was therefore called Yilin xunkan. It was sponsored and managed by The Chinese Artists’ Association, with the aim of promoting art and presenting materials of artistic significance and value. Due to its professional editorial work and the quality of the selection process for its publication, the journal was well received. The last issue was printed in 1942, with a total of 118 volumes.

The painter of Seated Portrait of a Prince in Casual Wear remains unknown, but there is no doubt that the extremely finely and gracefully portrayed gentleman was from the imperial lineage (lot 40, est. $90/120,000). The painting is particularly notable for the level of detail with which the artist has depicted the rug and lacquered throne in the painting.

anonymous

Anonymous (17th-18th century), Seated Portrait of a Prince in Casual Wear. Photo: Sotheby’s

ink and color on silk, hanging scroll; 185.5 by 109.3 cm. 73 by 43 in. Estimate 90,000-120,000 USD

NOTE: Imperial portraits constitute a major category of court paintings. They can be sub-categorized into formal commemorative portraits and informal portraits, based on the costumes worn by the sitter. Most portraits are unsigned. Despite the difference in the degree of formality, imperial portraits are all painted in fine detail and rely on costumes, accessories, and background setting to indicate the sitter’s status within the imperial family. The portraitists used light ink to outline the bone structure and features of their subjects, followed by layers of light brownish color to render skin color. The early Qing court portraits were clearly influenced by the Bochen School, epitomized by the late-Ming figure painter Zeng Jing (1568-1650). In the mid-Qing, Western oil painting techniques were introduced into the court by European artists, including Giuseppe Castiglione (1688-1766), Jean Denis Attirent (1702 -1768), and their followers. Beginning at this time, a hybrid style developed, characterized by an increased emphasis on chiaroscuro, and a decrease in relying primarily on ink contour lines to render the faces.

Based on this assessment, the present painting probably dates from the early Qing dynasty, that is, the 17th or early 18th century. The subject, who appears to be around seventy years old, is seated in a graceful pose, and exudes a self-absorbed, scholarly elegance–kind, yet stately. Sitting squarely on the gold-decorated lacquer throne, he wears an informal fur-trimmed winter robe of reddish brown satin with swastika pattern, tied with a yellow-gold colored belt. From the belt hang embroidered pouches, a knife, an ivory incense holder, and other accouterments. Based on the Illustrations to the Ceremonial Objects of the Qing, only the emperor’s sons, princes of first rank, and imperial family members could wear yellow-gold belts, whereas distant relatives of imperial family wore red belts. The sitter’s gold belt thus confirms his princely status.

The black-lacquered throne is inlaid in gold with interlocking branches of flowers and running dragons. It sits on a carpet decorated with twin dragons chasing a pearl design. The throne cover and cushion are tailored from yardage of a gold yellow semi-formal court robe and formal surcoat for an imperial prince of first rank. According to the Collected Regulations & Precedents of the Qing, the emperor’s sons are to wear yellow robes decorated with nine mang dragons, bordered by flat gold leaf. The robes for imperial princes of the first and second ranks are governed by the same regulation, except that the color of the ground fabric can only be blue or blue-black. In addition to the large roundels of front-facing five-clawed and side-facing mang dragons, the throne cover and cushion are also decorated with bats, auspicious clouds, a shou character in seal script, and a shallow border of lishui (standing water pattern), all finely woven. The overall design, together with the swastika pattern on the sitter’s robe, emblematic of longevity, suggests that the work was intended to be used in a birthday celebration befitting the status of an imperial prince of the first rank.

Although the collections of the Palace Museum in Beijing and the Freer-Sackler Museum in Washington D.C. include many Imperial portraits, depictions of interior scenes with dragon carpets are extremely rare. In the Palace Museum there is one hanging scroll, Portrait of the Emperor Kangxi Writing Calligraphy that depicts a dragon carpet.

The sale also includes two exquisite paintings of Daoist and Buddhist subject matter: Portraits of Jade Emperor and the Heavenly Kings (lot 70, est. $60/80,000), and Heavenly Deities of Land and Water (lot 71, est. $5/7,000). Besides the extremely vibrant and vivid brushstrokes and coloring, each painting celebrates its rarity with an inscription and a specific date, the former being commissioned by one of Jiajing emperor’s concubines in 1545, and the latter dedicated to Longshu Temple on Putuo Mountain in 1617, the forty-fifth year of Wanli reign.

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Anonymous, Portraits of Jade Emperor and the Heavenly Kings.  Photo: Sotheby’s

ated the twenty-fourth year of the Jiajing reign (1545), first lunar month and inscribed, ‘Princess Jing of the Great Ming dynasty made a vow to paint this piece, on an auspicious day of the first month in the twenty-fourth reign year of Jiajing (1545).’ ink and color on silk, framed; 122 by 87.4 cm. 48 by 34 3/4 in.  Estimate 60,000-80,000 USD

PROVENANCE:Purchased at Yonghe Gong, Beijing, in 1949 (see original shipping document)

California private collection

NOTE:The inscription on the present painting reads and may be translated as follows:

Jing fei Wen shi faxin hui shi

Jiajing ershisi nian zhengyue jiri

Concubine Jing with the surname Wen sincerely bestowed this painting on the third day of the first lunar month of the 24th year of the Jiajing reign (equivalent to 1545)

This painting presents an image of the Daoist deity Yu Huang (Jade Emperor) with his celestial court. In Daoism, Yu Huang is the ruler of heaven and all the lower realms, including earth and hell. However, in popular belief, Yu Huang was very much seen as the key figure in the pantheon.

For an early depiction of Yu Huang see a stele dated to 527, in the National Museum of Chinese History, Beijing, included in the exhibition Taoism and the Arts of China, the Art Institute of Chicago, 2000, cat. no. 33. He also appears, with his entourage of deities, on a robe in the Victoria and Albert Museum, London, included ibid., p. 197, fig.47, with a similar robe in the Metropolitan Museum of Art, New York, mentioned.

The Jiajing emperor was a devout follower and patron of Daoism. During his reign Daoism gained importance with the number of images of the numerous Daoist gods increasing significantly. See a hanging scroll dated to 1542 commissioned by one of Jiajing’s concubine’s called Shen depicting the deified Daoist hero Marshal Wang, in the Metropolitan Museum of Art, published ibid., pl. 88. This suggests that it was a common practice for the emperor’s concubines to commission works of this kind with the knowledge that it would meet his approval.

While little is known of Concubine Jing, records show that she was promoted to Guifei before the 60th birthday of Jiajing in 1566, and that she died during Wanli’s reign (1573-1619).

Yonghe Gong, where the present painting was purchased, is one of the most important and largest Tibetan Buddhist lamaseries in China, located in the north-east district of Beijing. Built in 1694, during the reign of the Kangxi emperor, it served as the residence for Prince Yinzhen for nearly thirty years before he took the throne as Emperor Yongzheng.

It was made into an imperial lamasery in the ninth year of the Qianlong reign (1744).

 anonymous2

 Anonymous, Heavenly Deities of Land and Water.  Photo: Sotheby’s

dated the forty-fifth year of the Wanli reign (1617), titled, and inscribed, ‘Dhtarara, Virupaka, Mahabrahman, Lakshmi. In the forty-fifth year of Wanli reign (1617), Monk Jiren accepted this contribution from the devotee Ni Xing. He delivered it to Mount Putuo where the work will enter the permanent collection of Longshu Temple and forever be revered and worshipped.’ ink and color on silk, hanging scroll; 188 by 93.9 cm. 74 by 37 in. Estimate 5,000-7,000 USD

NOTE: The inscription on the present painting reads and may be translated as follows:

Wanli sishiwu nian, muyuanseng Jiren

zhuzi xinshi Ni Xing, song Putuo Shan Longshu An

changzhu yongyuan gongfeng.

This painting was dedicated by Monk Jiren, using believer Ni Xing’s funds, to Longshu Temple on Putuo Mountain, shing it to be worshipped forever.

The inscription on the top left corner lists the names of four Buddhist deities: the Guardian God of the East, the God of Brahma (Fan Wang), the Guardian God of the West and the God of Virtue.

The present hanging scroll belongs to a special group of Buddhist images that were made for use in the Water-and-Land Ritual (Shuilu zhai), a rite developed for the salvation of all the deceased. This ritual, commonly practiced by Buddhist worshippers, intended to establish merit (gong) for both the living and the souls of the dead in the netherworld so that they can eventually reach incarnation and ascend to the celestial realms. While a number of important Ming period hanging scrolls of this type are known, those bearing a date and a dedicatory inscription are extremely rare to find in private hands.

Compare an earlier hanging scroll painted with the Masters of Professions and Arts, one of a set of 130 images created for the Water-and-Land rite, in the collection of the Shanxi Provincial Museum, Taiyuan, illustrated in New History of World Art, Toyo hen, vol. 8, Tokyo, 1999, pl. 16; and another painting made for the same ritual, attributed to the Wanli period (c. 1600), depicting the Lady of the Highest Primordial (Shangyuan furen) and the Empress of Earth (Houtu) in the collection of Musee Guimet, Paris, included in the exhibition Taoism and the Arts of China

The European Chinoisery Ceramic Collections Exhibition

MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

A.THE MEISSEN CERAMIC EXHIBITION

A_Meissen_silver_gilt_mounted_underglaze_blue_ground_snuff_box__circa_17401

A_Meissen_silver_gilt_mounted_underglaze_blue_ground_snuff_box__circa_17402

A_Meissen_silver_gilt_mounted_underglaze_blue_ground_snuff_box__circa_17403

A Meissen silver-gilt-mounted underglaze-blue-ground snuff box, circa 1740. Photo Bonhams

Cartouche-shaped, the sides reserved with four oval panels painted with chinoiserie scenes within gilt scrollwork borders, the corners with, at the front, gilt foliage, and scrollwork at the rear, the cover similarly decorated, reserved with a band of indianische Blumen, the base painted with a chinoiserie scene, the inside cover painted with a bust of a bearded man wearing a turban and scattered insects, within a brown-edged quatrelobe reserve against a burnished gilt ground, the box interior with a burnished gilt ground, 7.6cm across; 3.9cm high (minor wear). Estimate: £20,000 – 30,000, € 23,000 – 34,000, US$ 33,000 – 49,000
 
Literature: Joseph 1977, ill. 4;
Beaucamp-Markowsky 1985, no. 26;
Beaucamp-Markowsky 1988, no. 7Exhibited: London, Victoria & Albert Museum, British Antiques Dealers’ Association, Fiftieth Anniversary Exhibition, 29 April-12 May 1968;
Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

 
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An_extremely_rare_Meissen_silver_gilt_mounted_red_ground_circular_snuff_box2
 
An extremely rare Meissen silver-gilt-mounted red-ground circular snuff box, circa 1735-40. Photo Bonhams
Painted on each side, the base and cover with a ‘contour’ chinoiserie scene depicting figures engaged in various amusing pursuits, within a shaped, gilt-edged quatrelobe reserve, the inside cover with a similar scene, the interior gilt, the mount applied with a scroll thumbpiece, 6cm diam.; 4cm high (wear to edge of base). Estimate: £20,000 – 30,000, € 23,000 – 34,000, US$ 33,000 – 49,000
 
Provenance: Anon. sale, Christie’s Geneva, 12 November 1976, lot 161;
Anon. sale, Christie’s Geneva, 9 November 1987, lot 69Literatue: Beaucamp-Markowsky 1988, no. 9

Exhibited: Amsterdam, Rijksmuseum, 1987-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

 
Un_important_fronton_et_deux_sentences_parall_les_en_bois_laqu__et_or

Un_important_fronton_et_deux_sentences_parall_les_en_bois_laqu__et_or

A Meissen silver-gilt-mounted sea-green-ground oval snuff box, circa 1730. Photo Bonhams

The front, back and cover with a chinoiserie scene depicting figures by an estuary or harbour, within a gilt-edged quatrelobe reserve, the base with chrysantheums against a ground of iron-red leaves, the burnished gilt interior with a quatrelobe chinoiserie scene reserved inside the cover, 7.5cm wide, (minor losses). Estimate: £15,000 – 20,000, € 17,000 – 23,000, US$ 25,000 – 33,000
 
Provenance:: Anon. sale, Sotheby’s London, 27 June 1961, lot ??;
Alfred Joseph Collection, no. 1268Literature: Beaucamp-Markowsky 1985, no. 24;
Beaucamp-Markowsky 1988, no. 6

Exhibited: Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

A similar Meissen snuff-box is in the collection of the Victoria & Albert Museum, London (Inv. no. 2333-1855).

 
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A_Meissen_gold_mounted_snuff_box__circa_1735_40_
 
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A Meissen gold-mounted snuff box, circa 1735-40. Photo Bonhams
 
Decorated with three miniature chinoiserie scenes at the front, each within a gilt scrollwork and Böttger lustre cartouche, the sides and back with similar, wider cartouches, the cover with chinoiserie figures and flowering branches on a gilt scrollwork pedestal enclosing Böttger lustre, trellis panels and an oval purple monochrome landscape vignette, the base with a large chinoiserie vignette within a moulded border with a gilt line inside and a gilt border outside, the inside cover with a scene of a man embracing a lady seated at a dressing table within a gilt frame, the box interior gilt, 7.5cm wide, (small restored chip to rear left corner of outside of cover). Estimate: £15,000 – 20,000, € 17,000 – 23,000, US$ 25,000 – 33,000
 
Literature: Joseph 1977, ills. 6-8;
Beaucamp-Markowsky 1988, no. 8Exhibited: Amsterdam, Rijksmuseum, c. 1977-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

 

Three 19th century Chinoiserie snuff boxes in Meissen style

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A gilt-metal-mounted oval snuff box, 19th century. Photo Bonhams

In Meissen style, painted on each side with a chinoiserie scene within a shaped gilt scrollwork cartouche enclosing lustre and embellished with iron-red scrollwork, the cover similarly decorated, the base with a chinoiserie vignette, the inside cover with an elaborate chinoiserie scene, the mounts moulded with floral scrollwork, 7.4cm across, K.P.M. and crossed swords mark in underglaze-blue to base of box interior. Estimate: £1,000 – 2,000, € 1,100 – 2,300, US$ 1,700 – 3,300

Provenance: Alfred Joseph Collection, no. 1312

Literature: Beaucamp-Markowsky 1985, no. 9;
Beaucamp-Markowsky 1988, no. 3

Exhibited:  Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

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A silver-gilt-mounted oval snuff box, 19th century. Photo Bonhams

Of bombé shape, decorated with cartouches of Böttger lustre surrounded by puce camaieu and iron-red scrollwork enclosing chinoiserie scenes after the Schulz-codex, the base with a large Kakiemon flower spray, 5.4cm wide, crossed swords mark in underglaze-blue to inside base. Estimate: £1,000 – 1,500, € 1,100 – 1,700, US$ 1,700 – 2,500

Provenance:  Alfred Joseph Collection

Literature:  Beaucamp-Markowsky 1985, no. 11;
Beaucamp-Markowsky 1988, no. 4

Exhibited:  Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

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A gold-mounted triangular snuff box, 19th century. Photo Bonhams

In Meissen style, painted with a continuous chinoiserie scene around the sides depicting Orientals engaged in various amusing pursuits, above an iron-red double-line and a gilt border, the cover and inside cover with similar scenes, the base with a spray of indianische Blumen, the interior gilt, the mount twice struck with ‘owl’ mark, import mark for gold ware, France, after 1893, 8.9cm across (some wear to interior gilding).. Estimate: £1,000 – 1,500, € 1,100 – 1,700, US$ 1,700 – 2,500

Literature: Beaucamp-Markowsky 1988, no. 10

Exhibited:  Amsterdam, Rijksmuseum, ca. 1988-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

B.ST.CLOUD CERAMIC

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A Saint Cloud gilt-metal-mounted snuff box, circa 1740. Photo Bonhams

The cover and base moulded in high-relief with a shell heightened in coloured enamels in a Kakiemon palette, the sides painted with Oriental flower sprigs, the inside cover painted with a chinoiserie scene depicting a figure standing by a fence, flanked by flowering bushes, the inside with a single flower sprig, 8cm across (slight rubbing to enamels on base). Estimate: £3,000 – 5,000, € 3,400 – 5,700, US$ 4,900 – 8,200

Literature: Beaucamp-Markowsky 1985, no. 384;
Beaucamp-Markowsky 1988, no. 82;

Exhibited: Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

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A Saint Cloud silver-mounted snuff box, circa 1745. Photo Bonhams

Painted with landscape vignettes with chinoiserie figures and flowering plants and insects, the inside similarly decorated, the silver mounts with the discharge marks for Antoine Leschaudel, Paris, 1744-50 and Paris year initial ‘H; for 1748-49, 7cm wide (one corner of cover restored). Estimate: £2,000 – 3,000, € 2,300 – 3,400, US$ 3,300 – 4,900

Provenance: Alfred Joseph Collection, no. 1310

Literature: Beaucamp-Markowsky 1985, no. 394;
Beaucamp-Markowsky 1988, no. 84;

Exhibited: Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

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A Saint Cloud silver-mounted snuff box, circa 1730. Photo Bonhams

Painted with landscape vignettes with chinoiserie figures and pagodas among extensive flowering plants, the inside of the cover with similar scenes, the base with an iron-red vignette of plants issuing from rockwork, the silver mounts with wavy thumbpiece and clasp, discharge mark of Jacques Cottin, Paris, 1727-32, 5.1cm wide, (some wear to base). Estimate: £800 – 1,200, € 920 – 1,400, US$ 1,300 – 2,000

Provenance: Alfred Joseph Collection, no. 1609

Literature: Beaucamp-Markowsky 1985, no. 369;
Beaucamp-Markowsky 1988, no. 79;

Exhibited: Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

 

Les Islettes, trois assiettes à bordure contournée, décor au chinois. Fin XVIIIème siècle

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 Les Islettes, assiette à bordure contournée, décor au chinois fumant la pipe. Fin XVIIIème siècle. Photo POUSSE-CORNET – VALOIR

Diam. : 24,5 cm Usures

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 Les Islettes, assiette à bordure contournée, décor au chinois péchant.  Fin XVIIIème siècle. Photo POUSSE-CORNET – VALOIR

Diam. : 24 cm Usures et fêle

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Les Islettes  Assiette à bordure contournée, décor au chinois fumant la pipe. Fin XVIIIème siècle. Photo POUSSE-CORNET – VALOIR

Diam. : 24,5 cm. Restaurée

C.fRENCH CHINOISERY CERAMIC

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A Frankenthal gilt-metal-mounted rectangular snuff box, circa 1770. Photo Bonhams

Of slightly waisted form with a domed cover and the exterior moulded with a basketwork pattern, the base and cover painted with chinoiserie scenes after Jean Pillement, the sides with landscape scenes depicting ruins, castles and bridges over rivers, the inside cover with a scene of peasants smoking and drinking, the mounts with wavy borders, 8cm wide. Estimate: £3,000 – 4,000, € 3,400 – 4,600, US$ 4,900 – 6,600
 
Provenance: Alfred Joseph Collection, no. 1630Literature: Beaucamp-Markowsky 1985, no. 294;
Beaucamp-Markowsky 1988, no. 67Exhibited: Amsterdam, Rijksmuseum, 1972-2003;
London, Gilbert Collection, Somerset House, 2003-2008;
Barnard Castle, Co. Durham, The Bowes Museum, 2008-2010

The chinoiserie scenes on the cover and base are based on two prints by Jean Pillement from a series, ‘Livre de Chinois‘, published in London in 1758 and engraved by P.C. Canot.

 
THE END @COPYRIGHT DR IWAN SUWANDY 2011

The Amizing Ancient Gold Collections Exhibition

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MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

THE AMIZING ANCIENT GOLD COLLECTIONS EXHIBITION

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Medallion with Bust of Alexander the Great (ca. 218-235 CE) gold. Roman (probably struck in Macedonia), diameter 5.4 cm.

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et les masterpieces de la collection

 

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Mumienmaske eines Mannes, Römisch, 1. Hälfte des 1. Jh. n. Chr, Hawara; Temperamalerei auf Leinwand, Gips,

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Among the works in the new galleries are a pair of Greek serpentine armbands in gold (about 200 B.C.).

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Schildring mit Löwenkopf, Meroitisch, 1. Jhrd. v. Chr., Meroë, Pyramide der Amanishakheto; Gold © SMB,

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Trésor. Argenterie

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Cigale en cristal de roche

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Le collier d’Assiut, 400-600

 

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Gold Turtle Necklace, AD 1400-1521, Mexico. Copyright Dumbarton Oaks, Pre-Columbian Collection, Washington, DC.

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Gold finger ring, 1200 – 1521, gold pendant of human face and warrior-ruler figurine with ritual regalia. Copyright the Trustees of the British Museum.

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Pendant, c. 1200-1521, Mixtec-Zapotec. Gold with silver and copper. © The Trustees of the British Museum.

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Finger ring made of cast gold with a feline head, 1300-1521, Mixtec

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Headdress Ornament with Animals and Birds, Colchian, 350–300 B.C. Gold. Greatest extent: H: 6.6 x W: 6.5 x D: 2.7 cm (2 5/8 x 2 9/16 x 1 1/16 in.) Georgian National Museum, Tbilisi, Georgia, 1-2005/1. Photo: Amiran Kiladze.VEX.2009.4.106

LOS ANGELES, CA.- In a spectacular display of archaeological finds, The Golden Graves of Ancient Vani, on view from July 16–October 5, 2009, at the J. Paul Getty Museum at the Getty Villa, presents more than 140 objects from one of the most celebrated archaeological sites in the Republic of Georgia, including four recently excavated bronze lamps, shown together for the first time.

Vani was an important settlement in the ancient kingdom of Colchis, a region best known as the destination of Jason and the Argonauts in their mythical quest for the Golden Fleece. Even in antiquity, Colchis was renowned as a region rich in gold, and excavations at Vani have confirmed this reputation. Prompted by reports of jewelry that came to the surface following heavy rainfall in the area, archaeologists in the late 1930s began to systematically explore Vani. Their excavations have uncovered a series of burials in which the deceased were laid to rest wearing a sumptuous array of ornaments, and have revealed that Vani was a major political and religious center.

The Golden Graves of Ancient Vani features an extraordinary array of objects, dating from the mid-fifth to mid-first centuries B.C. From an impressive variety of locally-made gold jewelry to imports from the Persian Empire and the Greek world, the ancient treasures in the exhibition reveal both the region’s rich material resources and a complex and fruitful network of interactions with neighboring peoples.

“This exhibition provides a wonderful opportunity to tell the story of this ancient temple city and give visitors a view into the complex interrelations of ancient cultures,” says Michael Brand, director of the J. Paul Getty Museum. “We are delighted to have these objects together here in Los Angeles for the very first time.”

David Lordkipanidze, director of the Georgian National Museum, adds, “We are delighted that these exquisite objects from one of Georgia’s most important archeological sites are serving as the cultural bridge between Georgian museums and American institutions such as the Getty Museum, the Smithsonian, and the Institute for the Study of the Ancient World at New York University. We are equally pleased to see the Getty Villa bejeweled by the magnificent Georgian treasures of Vani, providing audiences a glimpse into our country, its history, and rich culture. We hope this collaboration with the Getty Museum is only the beginning of a long lasting relationship between our institutions. ”

Although The Golden Graves of Ancient Vani, organized by the Institute for the Study of the Ancient World at New York University, has toured the United States and Europe, the Getty presentation includes four elaborate bronze lamps that were discovered during excavations at the site in 2007. Part of a hoard of precious bronzes, they may have been deposited during a time of crisis. The discovery of this well-preserved cache of ancient metalwork is significant for the light it sheds on the manufacture and use of bronze in ancient Colchis. Furthermore, the artistry of the lamps is difficult to parallel—for example, the careful rendering of the Indian elephant heads that serve as nozzles for an Incense Burner (250–100 B.C.), or the elaborate composition of the Lamp with Elephant Heads and Human Figures (250–100 B.C.). Two of the lamps—the Lamp with Zeus and Ganymede and Lamp with Erotes (250–100 B.C.)—have never been displayed before, and were brought to the Getty for cleaning and analysis as part of a collaborative project with Georgian archaeologists and conservators.

“This is the first time we’ve brought objects directly from an archaeological site to the Museum for treatment and conservation, which carries with it great responsibility. We have been extremely fortunate to have the opportunity to exchange knowledge and expertise with our Georgian colleagues and were delighted to have Dr. Nino Kalandadze, a visiting conservator morefrom the Georgian National Museum, at the Villa for several weeks working on the lamps with our conservation team,” says Jerry Podany, the Getty Museum’s senior conservator of antiquities.

The exhibition focuses on a treasure trove of objects from five of the 28 graves that have been excavated at the site so far. They date to 450–250 B.C, when Vani was at the height of its prosperity. Among them, Grave 11 is the earliest and perhaps the richest burial. Dating to the mid-fifth century B.C., it contains four bodies laid inside a wooden structure and, outside it, a horse. Although all four bodies wore jewelry, one—a woman—was much more elaborately adorned, indicating her elite status.

The Necklace with Turtle Pendants (about 450 B.C.), a stunning example of Colchian goldwork, is one of the five necklaces discovered in this grave. The shells of the turtles are intricately decorated with granulation—the application of numerous tiny gold spheres—and are indicative of the advanced skill of Colchian goldworkers.

Another burial, Grave 24, excavated in 2004, exemplifies the cultural contacts enjoyed by the local aristocracy, for alongside another assemblage of gold jewelry and adornments are vessels imported from—or inspired by—both the Greek world and the Persian Empire. Of particular interest is the Silver Belt (350–300 B.C.) that depicts a banqueter attended by servants, testifying to the cultural importance of feasting.

The other three burials featured in the exhibition include a grave of a woman (Grave 6), which contained a striking polychrome pendant, manufactured in the Persian Empire but imported and adapted for local use at Vani; the grave of a warrior (Grave 9), whose gold ring bears an inscription in Greek, Dedatos, which may be his name; and the grave of an infant girl (Grave 4), who was adorned with gold jewelry just like her elders.

“The archaeological finds not only demonstrate the highly refined craftsmanship of local goldworkers, but also testify to contacts with both the Greek world and the Persian Empire,” says Karol Wight, the Getty Museum’s senior curator of antiquities. “Through our presentation, we hope to introduce visitors to an ancient heritage that expands our knowledge of an important civilization in this region. Many of the objects unearthed at Vani are without parallel in the ancient Mediterranean world.”

After the mid-third century B.C., evidence of rich burials ceases at the site. Most of the structures—such as altars and cult buildings—seem to have a religious or ritual function and, according to some scholars, Vani served thereafter as a sanctuary-city. Among the treasures from this period is the Torso of a Youth (200–100 B.C.), a well-proportioned bronze in a style that recalls Greek sculptures dating to 490–460 B.C., but that seems to have been made locally. It was discovered in an archaeological context that indicates it was a victim of the military destruction sustained at Vani around 50 B.C., which brought activity at the site to an abrupt end.

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Gold Phiale Mesomphalos, Vani, Achaemenid influence, 400-350 B.C

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Pendentif à deux passants en forme de grenouille chamanique. Diquis-Veraguas, Costa Rica ou Panama (700-1.500 ap. J.-C.) 

décoré d’un serpent s’échappant de la gueule de l’animal. Ses quatre pieds sont terminés par des têtes d’alligators. Or jaune, fonte à la cire perdue. Hauteur : 8 cm / longueur : 6 cm / Poids : 62,9g . Estimation : 10 000/12 000 €

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Pendentif à un passant arrière en forme de faon ou de cerf. Costa Rica ou Panama (700-1.500 ap. J.-C.)

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Diadem, Late 4th c. B.C., Gold. From Populonia. Florence, National Archaeological Museum

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Pair of “bauletto” Earrings, Middle of 6th c. B.C., Gold.

 

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Gold necklace elements, with turquoise, gray chalcedony, glass. Iran, late 14th to early 15th century C.E. Photograph © 1989 The Metropolitan Museum of Art

 

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Gold pendant with pair of birds, Greater Iran, 11th to 12th century C.E.

 

The Garden of Eden plays an important part in Islamic jewelry, with birds being the central theme. Here we see a pair of birds touching at their beaks and chests as they stand on their tiny feet in the middle of this pendant.

 

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Carnelian and gold necklace, Deir el-Balah, 13th century B.C.E.

 

This necklace consists of 244 carnelian and gold beads and wedjat eye amulets. The center gold spacer is decorated in the repoussé technique; it depicts an image of the goddess Hathor, the goddess of love and joy

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Pair of Earrings with Dangling Bells, Parthian, 3rd to 2nd century B.C.E. Gold, H: 6.5 cm. Private Collection

NEW YORK, NY.- The National Jewelry Institute (NJI), the world’s first institute devoted to jewelry and precious objects, announced that Masterpieces of Ancient Jewelry: Exquisite Objects from the Cradle of Civilization is on view at The Forbes Galleries, located at 62 Fifth Avenue, New York, NY through December 31, 2008.

Cited by experts as the most unique and profound show of its kind, the exhibition brings together 135 jewelry objects and accessories from the far reaches of history and the birthplace of civilization. Culled from the world’s greatest museums, the collection includes breathtaking pieces from the Louvre in Paris, Vorderasiatisches Museum in Berlin, Israel Museum in Jerusalem, the Metropolitan Museum of Art, and the Princeton University Art Museum.

As Christopher Forbes, Vice Chairman, Forbes, Inc. stated, “Masterpieces of Ancient Jewelry offers a window into ancient life and society. This is the sixth in a series of exhibitions organized by the National Jewelry Institute for which The FORBES Galleries have been privileged to provide a setting. It is also the most ambitious exhibition undertaken to date. Bringing almost 150 pieces for a show is a daunting task under any circumstances, but when the works in question include priceless treasures thousands of years old coming from museums and private collections around the world, the effort involved is Herculean.”

Some of the gems and jewels showcased are more than 7,000 years old and derive from the Ancient Near East, including Mesopotamia, the region that is believed by many historians to be the location of the Garden of Eden, revered by the world’s major religions.

“Jewelry is much more than simply personal adornment,” said Price. “Like all true art, it can be a remarkable expression of a culture and way of life. This collection offers a glimpse of an ancient civilization—one that lies at the very foundation of the modern Western world.”

Following its run at The Forbes Galleries, the exhibition will travel to the Field Museum in Chicago where it will be on display from February 13, 2009 through July 5, 2009.

The corporate partners for Masterpieces of Ancient Jewelry are: Christian Dior Couture and AXA Art Insurance Corporation. NJI has also produced a book titled Masterpieces of Ancient Jewelry: Exquisite Objects from the Cradle of Civilization, published by Running Press (ISBN 978-0-7624-3386-5).

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Deux magnifiques exemples de la joaillerie égyptienne

 

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Trésor

 

 

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Collier. Art hellénistique. photo Boisgirard et Associés

Bandeau tressé composé de six rangs de fins maillons, dont les extrémités forment un cœur serti d’un grenat. 47,5 cm. Estimation : 10 000 / 12 000 €

Paire de bracelets en or. Iran, 17e siècle. photo Boisgirard et Associés

Anneaux articulés creux, dont les extrémités jointes sont en forme de polyèdres bulbeux. Le décor, repoussé et ciselé, se compose de bandes obliques, de motifs floraux et végétaux en frises et de listels ponctués. Diam. 9,5 cm. Estimation : 7 000 / 8 000 €

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Cast-Gold Composite Animal Effigy Pendant (detail)

Emerging from the soaring cloud forests, rushing rivers, and dancing waterfalls of Central Panama, a celestial hero of ancient myth, arrayed in supernatural golden clothing, revealed himself to the modern world when, in the early 1900s, stories began to circulate of children playing marbles with gold beads found in the great Coclé River.

The first Cuna San Blas Indians believed their gods, heroes, and other mythic men and women could turn into animals at will to accomplish special purposes. At the time of a great flood or other cosmic disaster, gods transformed people into animals to allow them to survive or to punish them. It was in the late 1920s that news of a veritable “river of gold” began to spread as large quantities of fabled golden animals and sacred ornaments were discovered, attracting the attention of archaeologists.

River of Gold: Precolumbian Treasures from Sitio Conte tells the story of the University of Pennsylvania Museum of Archaeology and Anthropology’s (whose collection was the source of the incredible exhibition Searching for Ancient Egypt, which drew 134,578 visitors to Joslyn in 1999) excavations at the Precolumbian cemetery of Sitio Conte, Panama, and, for the first time, presents these archaeological treasures within their cultural context.

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Cast-Gold Bat Effigy Pendant (detail)

The cemeteries of Sitio Conte — about 100 miles west of Panama City — were overlooked by gold-seeking Spaniards in the 16th century, a fortunate circumstance when, at the turn of the 19th century, the Rio Grande de Coclé shifted its bed yet again and partially exposed the burials and their contents. In the 1940s a Penn Museum expedition undertook an excavation that uncovered rich and remarkable evidence that a thriving Precolumbian civilization had inhabited the region more than a thousand years previously. Great quantities of gold artifacts and jewelry were found especially in the grave of one high-status individual. Like the sun emerging from the underworld, gold objects removed from the burial mounds conveyed highly symbolic images of the creation myth and personifications of nature’s animal and human forces. The gold work from the site, which is almost entirely body ornamentation, is famous for its extraordinary beauty and sophisticated technology. Goldsmiths of the New World were consummate artisans, and those who created the objects found in the Sitio Conte cemetery were no exception. Working with the simplest of tools, they utilized technologies such as embossing, lost-wax casting, and depletion gilding to achieve extraordinary aesthetic effects. Plaques and cuffs were crafted from hammered gold sheet; cast pendants were exquisitely detailed, one-of-a-kind items.

The exhibition presents the gold from Sitio Conte in its unique archaeological and cultural context. Included are more than 150 gold objects dating from 700 to 1100 AD — hammered repoussé plaques, nose ornaments, gold-sheathed ear rods, pendants, bells, bangles, and beads — as well as richly detailed, painted ceramics and objects of precious and semi-precious stone, ivory, and bone.

Very little is known about the ancient societies of Central America, which have long been overshadowed by the more famous Precolumbian civilizations of Mesoamerica and the Andes. River of Gold is not only a visually stunning exhibition, it also gives viewers an invaluable glimpse into a Panamanian society as it was a thousand years ago and promotes an understanding of the culture of these enigmatic people who left such sophisticated art in their elite burials.

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Gold Nose Clip (detail)

Parements cloisonnés. 5e-6e siècle

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Parements cloisonnés. 5e-6e siècle. photo Boisgirard et Associés

Six boucles et boutons, dont trois en forme de fleurs écloses, sertis de grenats ou de turquoises. Quelques lacunes. Estimation : 50 000 / 60 000 €

Provenance : Collection L. Grenacs, Belgique. (1975).

 à l’antilope. Art sino-sibérien des Steppes, 1er millénaire av. J.C.

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Plaque à l’antilope. Art sino-sibérien des Steppes, 1er millénaire av. J.C. photo Boisgirard et Associés

Plaque discoïde en fer recouverte d’une feuille d’or repoussée, décorée d’une antilope couchée, tête de trois-quarts tournée en arrière. 4,8 cm – Estimation : 12 000 / 14 000 €

Provenance : Hôtel Drouot (Me Boisgirard – A. Kevorkian), 15 Décembre 1995 : n° 9B.

Vase libatoire.Bactriane, 3e-2e millénaire av. J.C.

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Vase libatoire.Bactriane, 3e-2e millénaire av. J.C. photo Boisgirard et Associés

Vase à panse arrondie et bec en gouttière horizontale, fendu au sommet. A l’opposé, une anse coudée tubulaire, appliquée au récipient, comme le bec, par une plaque discoïde percée de trous formant passoire, se prolonge par une tête de chameau à robe ponctuée et crinière en mèches. Haut. 10 ; Long. 33 ; Diam. 14 cm – Estimation sur demande

Un rapport d’analyse effectué à Los Angeles par Pieter Meyers confirmant l’ancienneté de l’objet sera remis à l’acquéreur.

 

Broche aux animaux. Art grec, vers le 5e siècle av. J.C.

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Broche aux animaux. Art grec, vers le 5e siècle av. J.C. photo Boisgirard et Associés

Plaque rectangulaire, décorée de rosettes et fleurs écloses et garnie dans les angles de quatre figurines de taureaux couchés, tête tournée en direction d’un lion accroupi. Plaque : 7 x 4,5 cm – Estimation : 28 000 / 32 000 €

 

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Bague romaine en or et intaille du 3e siècle.

Lourde bague romaine en or fin. L’anneau est formé d’une large bande plate qui va en s’élargissant du pied aux épaules. Les épaules sont incisées de deux nervures profondes et une plus fine au centre. Les bords du chaton sont découpés de volutes. L’intaille est en agate onyx à trois bandes, en forme de cône tronqué, ce qui, vue de dessus, lui donne l’apparence d’un œil. Ce type d’agate était très recherché pour ses vertus prophylactiques. Une inscription de trois caractères romains est gravée sur le sommet de l’intaille : M A P, sans doute pour représenter les initiales du nom du propriétaire (Marcus Antonius Publius, par exemple). Le serti de l’intaille est « en cuvette ».

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A Hellenistic gold oak wreath, Circa 4th-3rd Century B.C. Estimate: £100,000 – 120,000. photo Bonhams

A delicate wreath made of fine gold oak leaves with acorns, of the type worn by Alexander the Great’s father, Philip II of Macedon, is one of the highlights of Bonhams sale of Antiquities on April 28 in New Bond Street.

This stunning artefact, estimate £100,000-120,000, may once have graced the head of a ruler or dignitary over 2,000 years ago. “The fact that this delicate collection of fine gold leaves and acorns formed into a wreath has survived the centuries is almost miraculous,” says Madeleine Perridge, Antiquities Specialist at Bonhams. Previously in a private collection since the 1930s, “it is a beautiful example of a type that is rare to the market.”

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A Hellenistic gold oak wreath (details), Circa 4th-3rd Century B.C. Estimate: £100,000 – 120,000. photo Bonhams

Composed of numerous projecting sprays of sheet gold oak leaves with serrated edges and veins, miniature acorns nestling amongst them, each spray attached by twisted gold wire to a circular gold tube, the overlapping ends bound together to form a crown, 17in (43cm) diam, 5½in (14cm) deep, mounted on a perspex stand. 

Provenance: Private Swiss collection acquired between the 1930s-60s.
Acquired by the present owner at Sotheby’s London, July 11th, 1988, lot 83. Accompanied by a metallurgical/condition report.

Literature: The most famous of these types of wreaths is that found at Vergina in the tomb of Alexander the Great’s father Philip II of Macedon: M. Andronicos, Vergina: The Royal Tombs and the Ancient City, (Athens 1984), figs.137 & 184. However, such gold wreaths have been found in burials all over the Hellenistic world including Asia Minor, the North Pontic, and Magna Graecia. This is a very ornate and detailed example; for a similar oak leaf wreath with acorns, cf. D. Williams & J. Ogden, Greek Gold: Jewellery of the Classical World, (London 1994), pp.106-7, no.60; Also cf. Exhibition Catalogue, The Search for Alexander, (New York 1980), pl.36, p.187, no.173.

The sale also boasts a private English Collection of finely-painted Greek vases of exceptional condition. Previously exhibited at the Ashmolean Museum in Oxford, they are painted by leading artists from Classical Athens. They include:

An Attic red-figure stemless kylix by Douris, circa 480 B.C. showing a draped youth with defined musculature, standing in an Athenian wine-shop amongst large amphorae, (estimate £30,000-40,000). Exhibited in the Fogg Art Museum at Harvard from 1937, this drinking cup is a fascinating image of Athenian life in the Classical period.

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Pyramid mounts and an inscribed strip from the Anglo-Saxon gold Staffordshire hoard which has now received a £1.3m Heritage grant to meet the £3.3m total required for it to remain in Midlands museums. Photograph: Staffordshire hoard website/PA

LONDRES (ROYAUME-UNI) [25.03.10] – Le Trésor de Staffordshire, un des plus importants trésors anglo-saxons, a été sauvé de la dispersion grâce à une subvention d’environ 1,3 millions de livres du National Heritage Memorial Fund (NHMF).

La NHMF qui fait pourtant face à d’importants problèmes financiers – son budget ayant été réduit de moitié – a contribué à hauteur d’environ 1,3 millions de livres à la sauvegarde du trésor de Staffordshire. Cette contribution met fin à neuf mois de campagne pour conserver le Trésor sur le territoire britannique, plus précisément dans deux musées du West Midlands, région de sa découverte.

Trouvé en juin 2009 par un amateur dans la région du Staffordshire, le dépôt daté des VIIe VIIIe siècles qui se compose de 1500 objets à caractère guerrier en or (5 kg) et en argent (1,3 kg) est le plus important trésor anglo-saxon découvert à ce jour.

Déclaré trésor en septembre 2009 par le coroner – fonctionnaire chargé entre autres, de mettre en application le Treasure Act, c’est-à-dire l’ensemble de lois relatives à la découverte d’un trésor –, il devient un bien de la couronne britannique. Récupéré pour des études par le Burningham Archeology, il fait depuis, l’objet d’expositions, d’abord au Burningham Museum & Art Gallery puis au British Museum –jusqu’au 17 avril 2010.

En novembre 2009, le comité chargé d’évaluer le prix du Trésor a estimé celui-ci à plus de 3 millions de livres, somme qui devait être réunie par les musées locaux avant le 17 avril sans quoi le trésor serait alors vendu à des acheteurs privés.

Dame Jenny Abramsky s’est félicité de cette initiative en précisant au Guardian que « c’est exactement pour ce genre de chose que NHMF a été créé » et qu’il répondait ainsi à sa mission première de préservation du patrimoine national d’importance exceptionnelle en danger. La ministre de la Culture britannique, Margaret Hodge, a également salué ce geste.

Néanmoins, une somme supplémentaire d’environ 1,7 millions de livres est nécessaire pour pouvoir étudier et conserver correctement le trésor qui est loin d’avoir livré tous ses secrets.

Les 3,3 millions de livres seront partagées entre le découvreur et le propriétaire du terrain sur lequel le trésor a été découvert. www.artclair.com 

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Amateur metal detector unearths largest haul of gold from the period ever found – 1,500 pieces including weapons, helmet decorations, coins and Christian crosses. Photograph: PR

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A dagger hilt found in the Staffordshire hoard. Photograph: PR

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A detail of a fish and eagles. The first scraps of gold were found in a field by Terry Herbert, an amateur metal detector, in July. He could now be in line to share £1m with the landowner. Photograph: PR

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A folded cross. Photograph: PR

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A gold helmet cheekpiece. Photograph: PR

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A gold hilt fitting with inlaid garnets. One expert has described the hoard as being as significant as the Book of Kells. Photograph: PR

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A gold plaque with entwined and stylised arms. Photograph: PR

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A gold scabbard boss with inlaid garnets. Photograph: PR

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A gold strip with a biblical inscription. Photograph: PR

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A pair of pyramid sword fittings. Photograph: PR

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A figure of an animal, possibly from the crest of a helmet. Photograph: PR

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A gold sword fitting with an inlaid garnet. Photograph: PR

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A cheekpiece, fittings and zoomorphic mount. Photograph: PR

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Fish and eagles. Photograph: PR

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A glass chequerboard stud with a gold and garnet surround

 

“Byzanz: Splendour and Everyday Life” @ the Art and Exhibition Hall of the Federal Republic of Germany, Bonn

 

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Perfume brazier, 12th century, San Marco, Venice; © Procuratoria della Basilica di San Marco, Venezia

 

BONN.- Presenting more than 600 magnificent and historically meaningful exhibits and important artefacts from collections and archaeological excavations the exhibition shed light on many aspects of the history, archaeology and art of the Byzantine Empire.

It will offer an overview of the “Byzantine Millenium” (from the foundation of Constantinople by Constantine the Great in 324 A.D. to the conquest by the Ottomans in 1453), but will concentrate above all on the prospering of the Empire from the time of Justinian I (527–565 A.D.) until the plundering of Constantinople by western crusaders in 1204. Preciosous ivories, spectacular icons and manuscripts, architectural fragments, sculptures and everyday objects are presented in their original contexts. The main questions of the Byzantine state, Byzantine art and culture, society, economy, the Byzantine military, as well as daily life, etc., are to be discussed on the basis of “scenes”, by means of which these themes can be made highly accessible. The “scenes” will be reconstructed and animated with the help of computer graphics; archaeological finds will thus “speak”. Animated films will introduce the respective sections of the exhibition.

 

The exhibition will also illustrate the achievements of the various disciplines that have contributed to our understanding of Byzantine culture, and thus have enabled an understanding of the present: above all Byzantine studies, art history and archaeology, along with few other related fields.

 

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Medaillon with St. Theodore, 12th century, Museum of Historical Treasures of Ukraine, Kiev; © Museum of Historical Treasures of Ukraine, Kiev

 

Antiquity has left its mark on Europe. In which way this happened clearly distinguishes Western from Eastern Europe. The upheavals of the Migration Period with the subsequent foundation of the barbarian kingdoms largely brought the development of the Mediterranean civilisation to a standstill in the Roman West. It was the church that managed the inheritance of the Greeks and Romans. Both the Carolingeans and agents of the powerful 14th century Renaissance consciously reached back to the time of Constantine the Great and carried the achievements of Antiquity forward.

The situation in the East was different: In Constantinople, the Greco-Roman world in its Christian version remained vibrant for centuries. The members of ruling circles regarded themselves as the heirs of Greece and Rome; they were conscious of the ancient past and could draw from it. Naturally, over the course of centuries adaptations were made to meet new conditions as they arose. Almost parallel to the rise of the Ottonian kings, Byzantium became a medieval state. Yet, substantial elements of Roman civilisation endured: The literary and scientific inheritance of Rome was preserved in scholarly circles and monastic scriptoria; the Empire likewise remained urban and centralised in its structure. Even in difficult periods of Byzantine history, the uniform system of taxation and finance continued to function and interregional trade ensured the supply for the cities. High-quality goods like silk textiles and masterful enamelled works were appreciated internationally.

The contribution of the Byzantine Empire to modern Europe is far more important than we are aware of. Because Constantinople resisted Arab expansion, the medieval West could continue developing. The christianisation of all of Southeastern and Eastern Europe, the Balkan countries, Ukraine and Russia was conducted by Byzantium; Cyrillic script was developed by Byzantine missionaries. The European legal system is based on the Corpus iuris civilis promulgated in Byzantium under the emperor Justinian I. The Italian Renaissance received substantial impulses from Byzantine erudition, not least from the classical Byzantine painting. Even Turkish culture is likewise partly based on Byzantine antecedents: for example, the typical architecture of the mosques developed from the Byzantine domed churches.

 

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Necklace, Constantinople (?), around 600, RGZM, Mainz, © RGZM, Mainz

 

I. The problem of the sources
The extant sources from the Byzantine Empire are modest in comparison with their significance for European history. Historians must do with relatively few written sources since only fragments of the once rich archives survived today. Of the magnificent palaces and public buildings almost nothing remains. In essence, a few churches and their furnishings inform us about the size of the last ancient state in the Middle Ages. For this reason archaeological research is even more important, since its potential is nearly unlimited and its methods, in part due to the contributions of natural sciences, continue to develop. Only in the last decades special attention has been given to daily life of the general population of Byzantium, and there are new results from all regions of the Byzantine Empire that can be placed in a larger context. German and Austrian institutions are leading or involved in many of these undertakings.

II. The planned exhibition
The exhibition will make use of magnificent and historically meaningful exhibits and important artefacts from collections and archaeological excavations to shed light on many aspects of the history, archaeology and art of the Byzantine Empire. It will offer an overview of the “Byzantine Millenium” (from the foundation of Constantinople by Constantine the Great in 324 A.D. to the conquest by the Ottomans in 1453), but will concentrate above all on the prospering of the Empire from the time of Justinian I (527–565 A.D.) until the plundering of Constantinople by western crusaders in 1204. The main questions of the Byzantine state, Byzantine art and culture, society, economy, the Byzantine military, as well as daily life, etc., are to be discussed on the basis of “scenes”, by means of which these themes can be made highly accessible. The “scenes” will be reconstructed and animated with the help of computer graphics; archaeological finds will thus “speak”. Animated films will introduce the respective sections of the exhibition. The planned exhibition will also illustrate the achievements of the various disciplines that have contributed to our understanding of Byzantine culture, and thus have enabled an understanding of the present: above all Byzantine studies, art history and archaeology, along with few other related issues.

 

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Portrait of Constantine I, 325–330,

 

The Ancient Afghanistan Collections Exhibition

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MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

THE ANCIENT AFGHANISTAN COLLECTIONS EXHIBITION

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A 1st century AD Roman Egyptian enameled glass goblet discovered in Begram, Afghanistan, is seen on display in an exhibition entitled ‘Afghanistan: Crossroads of the Ancient World’, . The exhibition is showcasing over 200 objects belonging to the National Museum of Afghanistan which is currently undergoing reconstruction and accompanied by selected items  

The  latest exhibition displays ancient artifacts in gold, glass, stone and ivory from Afghanistan, a country whose fortune, and curse, has long been to lie at a crossroads of cultures, traders, artists and armies.

That these objects have survived for thousands of years is remarkable. That they have survived the last three decades of Soviet invasion, civil war, Taliban vandalism and continuing conflict seems little short of a miracle.

The items in this touring show, whose London leg was being opened Tuesday by Afghan President Hamid Karzai, were thought lost in the destruction of the National Museum of Afghanistan in the 1990s. In fact, they had gone underground, hidden away just before the Soviet withdrawal in 1989 by museum staff, who kept the secret, despite personal risk, during the years of Taliban rule.

“Many times they brought forces to the National Museum (to ask) ‘Where are these artifacts?'” said Abdul Wasey Feroozi of Afghanistan’s institute of archaeology.“We said, ‘We don’t know.’ Nobody gave answers to anybody about where these objects were.”

Seventy percent of the museum’s artifacts were wrecked or looted during the post-Soviet chaos or destroyed by the fundamentalist Taliban, who demolished much of the country’s pre-Islamic art in the belief that it was idolatrous.

But two years after the Taliban regime was toppled by a U.S.-led 2001 invasion, Karzai announced that six safes full of objects had been found in an underground vault in the grounds of the presidential palace. When archeologists and museum curators cut into the cases with circular saws, they found a treasure trove — 22,000 gold items from a 2,000-year-old nomadic burial ground, some of which form the climax of the current exhibition.

“Being in that bank vault was like being in Tut’s tomb,”said National Geographic Society archaeologist Fredrik Hiebert, who spent two years cataloguing the treasures and still bubbles with enthusiasm for the find. “It was all unexpected. I had been among the ranks of scholars to say, ‘These things are lost.'” 

This collections  hadn’t seen  in years and were uncertain of their fate, were ecstatic to find they had survived.

“All of a sudden,”Hiebert said, “the Afghans realized that they themselves had saved their cultural heritage.”

The exhibition of that heritage features artifacts from four remarkably different ancient societies, all found within the borders of modern-day Afghanistan — a Bronze Age farming civilization, a classical Greek city, a Silk Road palace and a nomads’ cemetery.

They attest to the vast range of influences on the strategically located Central Asian land.

One room features artifacts from Ai Khanum, a Greek city in what is now northern Afghanistan, complete with houses, temples, a gymnasium and an amphitheater. Founded by a general of the Macedonian conqueror Alexander the Great in 300 B.C., it was a piece of Greece on the steppe, whose relics include sundials, the heavy tops of Corinthian columns and a statuette of the hero Heracles.

Also on display are treasures from China, India and the Roman Empire, hidden 2,000 years ago at Begram — present-day Bagram, site of a major U.S. air base north of Kabul. Archeologists are still debating whether it was the warehouse of a merchant moving goods along the Silk Road or the treasures of a palace, hidden for safekeeping during an invasion.

The most dazzling artifacts are also the most surprising, because they belonged to nomadic steppe dwellers who otherwise left few traces of their civilization.

Uncovered in 1978 at a site aptly known to locals as Tillya Tepe, the Hill of Gold, were 22,000 golden objects — crowns, daggers, bracelets, amulets, earrings and bowls — inside the graves of five women and a man from the 1st century A.D.

Adorned with a cross-cultural mix of symbols — Persian lions, Greek heroes, Indian swastikas — they are, Hiebert said, “an art we had never seen before in Afghanistan, a true Silk Road art.”

“It was the first window on a whole new culture,”he said. “Unfortunately, that window closed suddenly in 1979.”

The motto of the Afghan National Museum is “A Nation Stays Alive When Its Culture Stays Alive,” and the exhibition reveals what a difficult process that can be.

The show opens with a small stone statue from the Greek period of a naked boy. Already damaged when it was dug up in 1971, it was restored and put on display in the museum. It was decapitated by the Taliban before being restored and put on display again — headless but proud.

New excavations in Afghanistan remain hampered by war and the huge challenge to national reconstruction.

“Archaeology,” Hiebert noted, “is not the highest priority.”

The Kabul museum has been restored with the help of international donations. It also receives a share of income from the exhibition, which has already toured Europe and North America — but has gained a new postscript in London.

The final room of the exhibition displays delicately carved ivory inlays, showing scenes of bare-breasted women, exotic animals and mythical beasts that adorned Indian-made furniture built 2,000 years ago.

Like so much else, the ivories were missing and presumed lost, but were recently purchased by a London dealer who handed them back to Afghanistan. They have been restored by British Museum experts and after the exhibition closes will be returned to the Kabul museum.

British Museum director Neil MacGregor said they were a fitting close to the exhibition’s story of “creation, of exchange, of destruction and recovery.”

“We wanted,” he said, “to end on a note of hope.”

“Afghanistan: Crossroads of the Ancient World”

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Gold crown from Tillya Tepe, 1st century AD. Image: National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

This astonishing object was found in the tomb of a nomadic woman. It was designed and assembled from different pieces which allowed it to be folded when not in use. It is the ultimate example of portable nomadic wealth.

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Gold bowl from Tepe Fullol, 2200–1900 BC. Image: National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

This fragment was part of a large group of gold and silver vessels found at Tepe Fullol in northern Afghanistan. Its discovery in 1965 suddenly revealed new evidence for the early antiquity of the region. The design on it resembles that of bulls shown in ancient Mesopotamian art – the two regions were connected by trade.

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Corinthian capital found at Ai Khanum, before 145 BC.  Image: National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

Ai Khanum is the modern name of a Hellenistic Greek city built on the banks of the river Oxus (Amu darya) in the 3rd and 2nd centuries BC. Extensively excavated by French archaeologists in the 1960s and 1970s, it gives an almost complete city plan. The architecture is a combination of local tradition and imported Classical styles.

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Enamelled glass goblet from Begram, 1st century AD. Image: National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

This was made in Roman Egypt and exported by sea via the Red Sea and Indian Ocean to India. It was then brought overland to Begram which was the summer capital of the Kushan Kingdom. It was found in a storeroom at the heart of a palace. The decoration shows a scene of people harvesting dates.

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Indian ivory furniture support from Begram, 1st century AD. Image: National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

A large number of heavily decorated pieces of furniture were found in the palace storerooms at Begram. The wood had disintegrated but the ivory and bone inlays survived. These were originally heavily painted. The style of carving suggests they were imported from India.

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Inlaid gold pendant from Tillya Tepe, 1st century AD. Image: National Museum of Afghanistan © Thierry Ollivier / Musée Guimet

This is one of a pair of identical pendants found in a tomb. It shows a figure subduing a pair of mythical beasts. It is heavily inlaid with different coloured materials, including turquoise, garnet, lapis lazuli, carnelian, and pearl, some of which are long-distance imports. This underlines the position of Afghanistan on the crossroads of the world

The Vintage Annam Vietnam Imperial Collections Exhibition

MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

The Vintage AnnamVietnam Imperial Collections Exhibition

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“Bảo Vật Hoàng cung”, “Trésors impériaux” “Imperial Treasures” @ Bảo tàng Lịch sử Việt Nam

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Hoàng cung vốn bí ẩn với với người đời, bảo vật trong hoàng cung lại càng bí ẩn, đến nỗi những người biết đến và được chiêm ngưỡng những bảo vật này hàng trăm năm qua cơ hồ chỉ có mấy người. Chính vì vậy những bảo vật từ hoàng cung các triều đại phong kiến Việt Nam luôn phủ một bức màn bí ẩn, thậm chí nhiều người cho rằng chúng đã sớm không còn tồn tại hoặc đang nằm ở các bảo tàng, bộ sưu tập trên thế giới, hoặc ngộ nhận một số đồ dùng thông thường trong cung đình là bảo vật hoàng cung. Bảo vật hoàng cung ngay từ khi được chế tác hay lưu truyền qua các triều đại đều là những vật tượng trưng cho quyền lực tối thượng của nhà vua, những đồ ngự dụng.

Thật may mắn, qua nhiều thăng trầm của lịch sử, những bảo vật của các triều đại Lê, Nguyễn: Ấn vàng, kiếm vàng, sách vàng, đồ ngự dụng bằng vàng, ngọc… có số lượng tới hàng trăm chiếc, vẫn còn được bảo quản, gìn giữ nguyên vẹn tại Bảo tàng Lịch sử Việt Nam; Đây là những bảo vật vô giá của nhân dân Việt Nam, không những chứa đựng những giá trị lịch sử phong phú mà còn phản ánh tài nghệ khéo léo của các nghệ nhân cung đình qua từng thời đại.

Sưu tập bảo vật này nhiều năm qua được lưu giữ cẩn mật tại kho của bảo tàng phục vụ công tác nghiên cứu mà chưa có dịp giới thiệu, trưng bày vì nhiều lý do. Nhân sự kiện lịch sử trọng đại – Đại lễ 1000 năm Thăng Long – Hà Nội, Bảo tàng Lịch sử Việt Nam lần đầu tiên tổ chức một trưng bày chuyên đề đặc biệt: “Bảo vật Hoàng cung” giới thiệu một phần nhỏ trong kho tàng bảo vật vô giá nói trên với nhân dân cả nước, bạn bè quốc tế. Mong rằng, trong một tương lai không xa, khi Bảo tàng Lịch sử Quốc gia hoàn thành, những bảo vật trân quý này sẽ có được một không gian xứng đáng để trưng bày phục vụ công chúng.

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Mũ vàng triều Nguyễn. Coiffes en or de la dynastie des Nguyễn

Vàng. Triều Nguyên, TK 19. 26,7x17cm. C:17,8cm. Trong luong: 720g. Coiffe en or (720 grammes), dynastie des Nguyễn, 19ème siècle.

 

Ảnh: Tiến Thành

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Vua Khải Định. L’empereur Khải Định.

Vàng. Triều Nguyên, TK 19. Trong luong: 660g. Coiffe en or (660 grammes) et diamants, dynastie des Nguyễn, 19ème siècle

Ảnh: Tiến Thành

Mũ vàng triều Nguyễn. Coiffes en or de la dynastie des Nguyễn

 

Vàng. Triều Nguyên, TK 19. 26,7x17cm. C:17,8cm. Trong luong: 720g. Coiffe en or (720 grammes), dynastie des Nguyễn, 19ème siècle.

Ảnh: Tiến Thành

Vua Khải Định. L’empereur Khải Định.

 

Vàng. Triều Nguyên, TK 19. Trong luong: 660g. Coiffe en or (660 grammes) et diamants, dynastie des Nguyễn, 19ème siècle

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Ảnh: Tiến Thành

Vua Duy Tân. L’empereur Duy Tân

Vua Duy Tân. L’empe

reur Duy Tân

Ấn, kiếm vàng triều Nguyễn – Sceaux et épées de la dynastie des Nguyễn

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Từ trái qua phải: Ấn vàng “Sắc mệnh chi bảo” bằng vàng ròng nặng 8,5 kg, đúc năm Minh Mạng 8 (1827);

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 ấn ngọc “Đai Nam Thu thiên vĩnh mệnh truyền quốc tỷ” của triều Nguyễn; ấn “Quốc gia tín bảo” đúc bằng vàng, nặng gần 5 kg vào niên hiệu Gia Long.

Ấn vàng “Sắc mệnh chi bảo”. Đúc tháng 10 năm Minh Mệnh 8 (1827). Trọng lượng: 8500 Gr. Sceau en or de l’empereur Minh Minh Mạng, 1827, poids: 8500 grammes.

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Ảnh: BTLS

Ấn “Sắc mệnh chi bảo” gồm 2 cấp, có hình vuông, trên có hình rồng đầu ngẩng, 2 sừng dài, đuôi xòe 9 dải hình ngọn lửa, lưng ấn khắc hai dòng chữ Hán: “Thập tuế hoàng kim nhị bách nhị thập tam lạng lục tiền – Minh Mạng bát niên thập nguyệt cát nhật tạo”. (Vàng 10 tuổi nặng 223 lạng 6 tiền – đúc vào ngày lành tháng 10 năm thứ 8 Minh Mạng, 1827).

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Ảnh: Tiến Thành

Photo d’époque du sceau en or de l’empereur Minh Mạng.

Ấn “Quốc gia tín bảo” đúc bằng vàng, nặng gần 5 kg vào niên hiệu Gia Long. - Ảnh: Tiến Thành. Sceau en or (environ 5kg) de l’empereur Gia Long.

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Ấn ngọc “Đai Nam Thu thiên vĩnh mệnh truyền quốc tỷ”. Triều Nguyễn. Sceau en jade. Dynastie desNguyễn, 19ème siècle.

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Ảnh: Tiến Thành

Kiếm vàng triều Nguyễn thế kỷ 19 (bên trên) và kiếm vàng “An dân bảo kiếm” năm Khải Định (1916-1925) ở bên dưới.

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Ảnh: Ngọc Thắng

Kiếm vàng. Triều Nguyễn. TK 19. Epée impériale d’apparat, or et jade, 0,58kg. Dynastie des Nguyễn. 19ème siècle.

Kiếm vàng “An dân bảo kiếm”. Triều Nguyễn, năm Khải Định (1916-1925). Epée de l’empereur Khải Định (1916-1925).

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Ảnh: Tiến Thành

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L’empereur Khai Dinh, portant cette épée, et son fils, le prince Vinh Thuy, à Paris en 1922.

Chén ngọc, chậu vàng, sách vàng. Service à thé en jade, bassin et livre en or

Chén ngọc bịt vàng nặng 1,1kg. Tasse en jade à monture or. Poids total: 1,1 kg.

Théière en jade cerclée d’or. Dynastie des Nguyễn.

Bộ chén ngọc khảm vàng triều Nguyễn. Service à thé en jade et or. Dynastie des Nguyễn.

Ảnh: Tiến Thành

Chậu vàng của triều Nguyễn, năm Duy Tân 5 (1911), trọng lượng 1,4 kg. Bassin en or, 1,4 kg. Dynastie des Nguyễn, cinquième année de Duy Tân (1911)

Ảnh: Ngọc Thắng

Đài vàng cẩn ngọc triều Nguyễn thế kỷ 19. Boîte à offrandes en or et pierres précieuses. Dynastie des Nguyễn, 19ème siècle.

Cuốn sách vàng chế tác năm Gia Long thứ 5 (1806) có trọng lượng 2,1 kg. Livre en or, 2,1 kg. Dynastie des Nguyễn, cinquième année de Gia Long (1806).

Ảnh: Tiến Thành

Ảnh: Tiến Thành

Ảnh: BTLS

english version

 Bao Hoang Cung”, “Imperial Treasures” “Imperial Treasures”

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Nick von Hoang Cung year life with the elephant, in the palace include VAT year even more people who knew Nick said Djen Djen will admire how these things hang five hundred four co ho chi few people. Chinh Hoang Cung so you how VAT bedrooms Djaya million feudal Vietnam Phu Always word buc man Nick year, even more people to collectively rank ADI som nam Khong child, or your ear bedrooms o Djang Museum, the collection on The Gioia, or maize label word of the group took in notifying Thuong Hoang Cung Cung VAT. Bao Hoang Cung VAT Now you are spending handed tac Hay market there are four bedrooms Djaya million Nhung ticket symbol for home crab at you thuong king, but sleeping is true.

That Man May, four percent more History Month, of how VAT million Djaya Nhung Le Nguyen: An echo echo kiem, know wine, red wine boom pragmatic, Ngoc … Have you hundreds over the children how the van luong, maintained Fri Tai Nguyen Bao Tang Lich su Viet Nam Nhung djay is part of how VAT Vo Nhan Dan Viet Nam Not sour Djunga values ​​Phong Phu Phan Anh Tai Lich su I heard that skillful artisans royal Djaya launched four shuttle.

Many Collectibles how men are saved by cdn keep cool in the Museum’s warehouse phuc tat Vu Cong chua research that dip Introduction, The Ly Many of the bay. Events in history Djaya – Djaya the Nam Thang Long 1000 – Hanoi, Vietnam History Museum Lan tien first organized word Je Gallery Chuyen special “VAT Bao Hoang Cung” Gioia word is missing the treasure bag in grape Vo Nhan Dan Noi in VAT on water ca voi, international friends. Mong rank, future remote word Khong, Chi History Museum Completed countries, but Tran Quy Bao VAT has to have the word around Djang Space Gallery Je phuc public.

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MU vang trieu Nguyen. Gold copings of the Nguyen Dynasty

MU Vang. Trieu Nguyen, TK 19. 26.7 x17cm. C: 17.8 cm. Trong Luong: 720g. Cap gold (720 grams), Nguyen Dynasty, 19th century.

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The Emperor Khai Định.

MU Vang. Trieu Nguyen, TK 19. Trong Luong: 660g. Cap gold (660 grams) and diamonds, Nguyen Dynasty, 19th century

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MU Vang. Trieu Nguyen, TK 19. 26.7 x17cm. C: 17.8 cm. Trong Luong: 720g. Cap gold (720 grams), Nguyen Dynasty, 19th century.

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Duy Tan Vua. The Emperor Duy Tan

Duy Tan Vua. The emperor

Duy Tan REUR

An, Nguyen trieu kiem vang – Seals and swords of the Nguyen Dynasty

You Trai four Phai: An vang “menhir Bag chi bao” boom vang nang rong 8.5 kg, 8 Đức Nam Minh Mang (1827);

 year Ngọc “Djaya Thu Thien Nam Vinh Quoc Truyen menhir ty” cua Nguyen trieu; year “Quoc gia tin bao” boom vang Đức, Nang gan 5 kg vao Nien hieu Gia Long.

Year vang “menhir Bag chi bao”. Đức thang nam Minh Menhir 10 8 (1827). Trong Luong: 8500 Gr Gold Seal of Emperor Minh Minh Mang, 1827, weight: 8500 grams.

Anh: BTLS

An “menhir Bag chi bao” gom 2 course, co Hinh Vuong, tren Có Hinh rong đầu Nganga, sung dai 2, Dai Hinh đuôi XOE 9 ngon lua, lung year dong chu Han Khac Hai “Thap Nhi Hoang Kim killed Bách nhi tam thap luc lang yours – Minh Mang Nien thap bat Nguyet Cát Nhat Tao. ” (Vang 10 Tuoi lang nang 223 6 yours – Đức Ngaye lanh thang vao Nam thu 10 8 Minh Mang, 1827).

Anh: Tien Thanh

Photo of antique gold seal of Emperor Minh Mang.

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An “Quoc gia tin bao” Đức bang vang, Nang gan 5 kg vao Nien hieu Gia Long. – Anh: Tien Thanh. Gold seal (about 5kg) of Emperor Gia Long.

Year Ngọc “Djaya Thu Thien Nam Vinh Quoc Truyen menhir ty.” Trieu Nguyen. Jade seal. DesNguyễn dynasty, 19th century.

 

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Anh: Tien Thanh

 

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Kiem Nguyen The Ky Vang trieu 19 (ben TREN) will kiem vang “An dan bao Kiem” Nam Khai Định (1916-1925) o Bên dưới.

Anh Ngoc Thang

Kiem vang. Trieu Nguyen. TK 19. Sword imperial ceremonial, gold and jade, 0.58 kg. Nguyen Dynasty. The 19th century.

Kiem vang “An dan bao Kiem”. Trieu Nguyen, Nam Khai Định (1916-1925). Sword of Emperor Khai Định (1916-1925).

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Ảnh: Ngọc Thắng

Kiếm vàng. Triều Nguyễn. TK 19. Epée impériale d’apparat, or et jade, 0,58kg. Dynastie des Nguyễn. 19ème siècle.

Kiếm vàng “An dân bảo kiếm”. Triều Nguyễn, năm Khải Định (1916-1925). Epée de l’empereur Khải Định (1916-1925).

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Ảnh: Tiến Thành

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Anh: Tien Thanh

The Emperor Khai Dinh, bearing the sword, and his son, Prince Vinh Thuy in Paris in 1922.

Chén Ngoc Chau vang, know vang. Tea jade, gold basin and book

Chén Ngọc bit nang vang 1.1 kg. Jade cup mount gold. Total weight: 1.1 kg.

Jade teapot rimmed with gold. Nguyen Dynasty.

BO Chén Ngọc trieu Kham Vang Nguyen. Tea jade and gold. Nguyen Dynasty.

Anh: Tien Thanh

Cua vang trieu Chau Nguyen, Nam Duy Tan 5 (1911), Trong Luong 1.4 kg. Basin of gold, 1.4 kg. Nguyen Dynasty, the fifth year of Duy Tan (1911)

Anh Ngoc Thang

Djaya vang Cdn Ngọc trieu Nguyen The Ky 19. Offering box in gold and precious stones. Nguyen Dynasty, 19th century.

Cuon sach nam vang market tat thu 5 Gia Long (1806) co Trong Luong 2.1 kg. Book of gold, 2.1 kg. Nguyen Dynasty, Gia Long of the fifth year (1806).

Anh: Tien Thanh

Anh: Tien Thanh

Anh: BTLS

 
 
 
 
 
 
 

Sélection de cartes postales anciennes sur Huê

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Annam, Huê. Les musiciens du Roi jouant sous le soleil du Portique Radieux

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Annam, Huê. Elephant caparaçonné contenant la foule pendant les fêtes

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Huê (Annam). Porte monumentale, dite Hien Dhon(?)

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Annam, Huê. Tombeau de l’empereur Dông Khanh

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Annam, Huê. Chef des Makouis et ses satellites. Scène diabolique jouée au Palais

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Annam, Huê. Les deux Reines par Dieulefils

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Annam, Huê. Thiên Tri (Temple de la Lumière)

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Annam, Huê. Porte d’entrée du Co Mât

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Annam, Huê. Tibunes Cavalier du Roi, vue des jardins

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Annam, Huê. Tombeau de Minh Mang (Temple de la Lumière)

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Annam, Huê. Tombeau de Tu Duc (Temple de la Stèle)

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Annam, Huê. Annam, Huê. Porte du Palais Co Mât par Dieulefils

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Annam, Huê. Temple des Edits

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Annam, Huê. Eléphants traversant une rivière.

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Annam, Huê. Rotissage d’un boeuf

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Annam, Huê. Allée des Portiques de droite conduisant au tombeau de Thiêu Tri par Dieulefils

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Annam, Huê. Les Corbeilles de Fleurs

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Annam, Huê. Groupe de femmes annamites par Dieulefils

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Annam, Huê. Le tombeau de Gia Long (la triple enceinte) par Dieulefils

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Annam, Huê. Ensemble des cours et pagodes du tombeau de Minh Mang par Dieulefils

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Annam, Huê. Cours et pagodes au tombeau de Minh Mang

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Annam, Huê. Pagode où se font les cérémonies rituelles au tombeau de Minh Mang

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Annam, Huê. Porte de l’enceinte extérieure au tombeau de Minh Mang

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Annam, Huê. Groupe d’ennuques par Dieulefils

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Annam, Huê. Palais du Prince Tuyên Hoà, frère du Roi par Dieulefils

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Annam, Huê. Cours et pagode au tombeau de Thiêu Tri par Dieulefils

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Annam, Huê. Une colonne commémorative au tombeau de Thiêu Tri par Dieulefils

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Annam, Huê. La Montagne du Roi et le Cercle de la Rive Droite par Dieulefils

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Annam, Huê. Le Cavalier du roi, vu de la Trbune

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Annam, Huê. Palais de l’Empereur. Le Trône

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Annam, Huê. Tombeau de Tu Duc

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Annam, Huê. La fête du Nam Giao en 1933

Portrait de l’Empereur Bao Dai par le Studio Harcourt

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Portrait de l’Empereur Bao Dai par le Studio Harcourt

Cette photo, en tirage argentiquen de format 18 x 24 cm, a été proposée à 100 € + 5 € d’envoi et n’a pas trouvé preneur ce jour.

  

 

‘Arts of Ancient Viet Nam: From River Plain to Open Sea’ @ Asia Society Museum, New York

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Vietnam, Charger with Dragon, Late 15th Century. Stoneware

The Museum of Fine Arts, Houston, and Asia Society, New York, offer an unprecedented exhibition of art from ancient Viet Nam—the first U.S. exhibition to address in depth the historical, geographic and cultural contexts of precolonial Vietnamese art. Throughout its long history, Viet Nam served as a central hub for trade routes connecting the regions of Asia and the West, with travelers and merchants traversing its long open plains, and trade vessels from as far west as India and Rome finding safe haven in its harbors. Arts of Ancient Viet Nam: From River Plain to Open Sea will introduce new scholarship on the history of Vietnamese art.

Approximately 110 objects dating from the first millennium B.C. through the 17th century, on rare loan from Viet Nam´s leading museums, will be on view. Highlights of the exhibition include ritual bronzes, terracotta burial wares, fine gold jewelry, Hindu and Buddhist sculptures, and ornaments made of jade, lapis lazuli, crystal and carnelian. The works have never before been exhibited.

Independent scholar Nancy Tingley is curator of the exhibition. Christine Starkman, MFAH Curator of Asian Art, serves as in-house curator for the show in Houston. In New York, Adriana Proser, Asia Society´s John H. Foster Curator for Traditional Asian Art, is in-house curator.

A full color, 356-page catalogue is available at AsiaStore.

February 2 – May 2, 2010 @ Asia Society Museum, New York

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Drum, Dong Son period, 5th–3rd century BCE, Hoang (Mieu Mon) Village, My Duc District, Ha Tay Province. Bronze. National Museum of Vietnamese History, Ha Noi, LSb 5724 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Halberd, Dong Son period, 1st century BCE–1st century CE, Hai Phong City, Kien An District, Hai Phong Province. Bronze. National Museum of Vietnamese History, Ha Noi, LSb 1408 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Chicken-headed Ewer (Han type), Dong Son period, 1st–3rd century CE. Glazed stoneware. National Museum of Vietnamese History, Ha Noi, LSb 15062 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Burial Urn with Cover, Sa Huynh culture, 4th–2nd century BCE. An Bang site, Hoi An District, Quang Nam Province. Earthenware. Hoi An Center for Monument Management and Preservation, Cl(AB)95 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Bicephalous Ear Ornament, Sa Huynh culture, 3rd–1st century BCE. Giong Ca Vo site, Ho Chi Minh City, Can Gio District, Ho Chi Minh Province. Nephrite. Museum of Vietnamese History, Ho Chi Minh City, BTLS 13619 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Pangolin. Long Gio, Long Khanh district, Dong Nai Province. 3rd century BCE–2nd century AD. Bronze. Dong Nai Museum, LG24. Photo by Kaz Tsuruta, Asian Art Museum of San Francisco, © Dong Nai Museum

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Vietnam, Female, c. 5th Century. Da Nang Museum of Cham Sculpture. Stone

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Ekamukhalinga, Fu Nan period, 6th century. Oc Eo site, My Lam Village, An Giang Province. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5532 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Three Intaglio, Fu Nan period, ca. 6th century. Oc Eo site, My Lam Village, An Giang Province. Carnelian and crystal. Museum of Vietnamese History, Ho Chi Minh City, BTLS 2248, BTLS 2258, BTLS 2253 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vietnam, “Simhamukha” Architectural Ornament, 6th Century. Terra Cotta

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Vietnam, Kneeling Figure Making Offering, 6th Century. Bronze

 

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Vietnam, Vishnu, 6th-7th Century. Stone

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Lintel, Fu Nan period, late 7th century. Thuy Lieu Village, An Giang Province. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5977 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vishnu, Fu Nan period, 7th century. Tan Phu site, Tan Hoi Village, An Giang Province. Bronze. Museum of Vietnamese History, Ho Chi Minh City, BTLS 1585 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Viet Nam, Male Divinity, 7th Century. Stone

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Lotus. Fu Nan period, 7th–8th century. Go Xoai site, Duc Hoa District, Long An Province. Gold foil. Long An Museum, BT87-M1-V-2. (Kaz Tsuruta, Asian Art Museum of San Francisco) © Kaz Tsuruta, Asian Art Museum of San Francisco

 

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Three Elephants Fu Nan period, 7th–8th century. Go Xoai site, Duc Hoa District, Long An Province. Gold sheet. Long An Museum, BT87-M1-I-3 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Surya. Fu Nan period, 7th–8th century. Ba The Village, An Giang Province. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5527 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Pedestal. Champa period, 8th–9th century. Van Trach Hoa Village, Phong Dien District, Thua Thien Hue Province. Stone. Thua Thien Hue Historical and Revolutionary Museum, TTH 2813/D99 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Viet Nam, Seated Bodhisattva, 9th Century.

 

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Vietnam, Dharmapala, 9th Century. Stone

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Viet Nam, Nataraja, 10th Century. Stone

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Relief of Figure Making Offering. Champa period, late 10th century. Stone. Museum of Vietnamese History, Ho Chi Minh City, BTLS 5906 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vietnam, Female Figure, 11th Century. Stone

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Dancer, Champa period, 11th century. Tra Kieu site, Quang Nam Province. Sandstone. Hue Royal Antiquities Museum, DKC 44 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Vietnam, Vishnu, 11th Century. Stone

 

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Vietnam, Garuda with Naga, Late 12th — 13th century. Stone

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Kinnara, Champa period, late 12th–13th century, Thap Mam site, Binh Dinh Province. Stone. Hue Royal Antiquities Museum, DKC 33 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Lion, Champa period, late 12th–13th century, Thap Mam site, Binh Dinh Province. Stone. National Museum of Vietnamese History, Ha Noi, LSb 21187 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Large Basin, Ly–Tran dynasty, 12th–14th century, Thanh Hoa Province. Glazed stoneware. Viet Nam National Fine Arts Museum, 4975-G2-1851 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Ewer, Late 15th century, Chu Dau kiln, Cu Lao Cham shipwreck. Stoneware painted with underglaze cobalt blue and remnants of overglaze enamel. Museum of Vietnamese History, Ho Chi Minh City, BTLS 16997 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Pair of Nghe. Late Le dynasty, 16th–17th century, Bat Trang kiln. Glazed stoneware. National Museum of Vietnamese History, Ha Noi, LSb 13572, LSb 13573 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Lime Pot, 15th century. Glazed stoneware. Viet Nam National Fine Arts Museum, CDA-5/04-4599 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Hoang Nguu and Nguyen Phong Lai, Lamp Stand. 24th day, 6th month, 3rd year of Dien Thanh’s reign (1580). Nghia Lu Commune, Cam Giang District, Hai Duong Province. Stoneware painted with underglaze cobalt blue. National Museum of Vietnamese History, Ha Noi, LSb 13771 © Kaz Tsuruta, Asian Art Museum of San Francisco

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Incense Burner and Pair of Lamps. Early 17th century, North Viet Nam. Glazed stoneware. National Museum of Vietnamese History, Ha Noi, LSb 12834, LSb 17251, LSb 15407 © Kaz Tsuruta, Asian Art Museum of San Francisco

L’Ordre du Dragon d’Annam

The Order of the Dragon of Annam: founded by Emperor Dong Khanh on 14th March 1886. Awarded in five classes (1. Grand Cordon, 2. Grand Officer, 3. Commander, 4. Officer, and 5. Knight) with two ribbons (red with gold border stripes by the Emperor, and green with gold border stripes by the French President).

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The Order of the Dragon – Grand Cordon, breast star

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The Order of the Dragon – Officer, breast badge with “colonial ribbon”

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Croix de chevalier de l’Ordre du Dragon d’Annam (face et dos) (photo e-bay)

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Croix de chevalier de l’Ordre du Dragon d’Annam (photo e-bay)

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Diplôme de Chevalier de l’Ordre du Dragon d’Annam (1875)

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Croix de chevalier (au dos : ovale alu collé : La Gerbe d’Or, CHAPUS 86 rue de Rivoli Paris) (photo ebay)

Deux nouvelles photos de l”Empereur Khai Dinh

Visite de l’Empereur Khai Dinh au Palais

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Arrivée de l’Empereur Khai Dinh au Palais Kien Trung

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Rare Album artisanal d’un recueil de 20 photographies couvrant le couronnement de l’empereur Bao-Dai le 8 janvier 1928

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Rare Album artisanal d’un recueil de 20 photographies couvrant le couronnement de l’empereur Bao-Dai le 8 janvier 1928

the rare album of 20 photograpies emperor Bodai January,8th.1928

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This work was carried out by the school in Hue, Vinh Tang rue Paul Bert. Black and white prints in the format 11.8 x 17cm. The legends made ​​on a paper strip added below. The 20 photographs are:
1 Arrive in Hue S.A Prince Vinh Thuy-
2 Arriving at the palace of Prince
3 Reception of the Prince by the court
4 ceremony of prostration
5 s.m Bao Dai went to the palace
6 Arrival at the Palace
7 Arrival of the Governor Mr. Varenne
8 European Assistance
9 Position of the mandarins before making Thai Hoa Lays Deaver
10 Lays of the 2nd phase
11 The mandarins of lower rank to its knees
12 After the enthronement SM Bao Dai returned to the palace
13 Out of HM Bao Dai in a litter by the Golden Gate
14 Bao Dai wins walk Mieu Pagoda Tea
15 SM in position for Lays in the Pagoda Tea Mieu
SM 16 out of the pagoda, hailed the Regent vparr SE
17 Return of the pagoda

 

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Art du Champa : Site de My Son

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Site de My Son. Fouilles de Henri Parmentier et de Charles Carpeaux en 1903-1904, mise en place d’un palan (photothèque EFEO, PAR01584, cliché H. Parmen

Restauration de la plus vieille maison communale du Vietnam à Hà Tây

La province de Hà Tây (Nord) a récemment commencé la restauration de la plus ancienne maison communale du pays. Construite au 16e siècle, la maison communale de Thuy Phiêu, dans la commune de Thuy An, district de Ba Vi, sera rénovée pendant un an. Coût des travaux: 7 milliards de dôngs. Cette maison communale est dédiée au culte de Tan Viên, un des 4 génies les plus puissants de la mythologie vietnamienne. (CVN)La cathédrale de Phat Diêm ou qu’est-ce que l’acculturation ?

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La cathédrale de Phat Diêm, province de Ninh Binh (Nord), à 121 km au sud de Hanoi, a été à l’époque de la colonisation française un haut lieu du catholicisme dans le Nord. Mais, plus encore, c’est là l’un des premiers exemples architecturaux de l’acculturation qui a eu lieu au cours de cette période.
Il y a quelques semaines de cela maintenant, Alain J. Lemaître, docteur en ethnologie, en histoire et en lettres, maître de conférences en histoire moderne à l’Université de Haute Alsace, donnait à l’occasion de la Journée internationale de la Francophonie une conférence sur l’acculturation. Ce terme né dans le champ de l’ethnologie décrit “l’ensemble des phénomènes résultant d’un contact continu entre 2 groupes culturels différents provoquant des changements dans les 2 groupes”.

Dans la perspective coloniale, ces phénomènes étaient perçus comme unidirectionnels puisque l’idée dominante était celle d’une suprématie de la culture européenne. Ainsi, seule la culture indigène se modifierait au contact de la culture des colonisateurs, ne faisant que reproduire tels quels les us et coutumes de celle-ci. Cependant, suite à la décolonisation et à l’indépendance des peuples, l’ethnologie a réajusté cette notion en intégrant l’idée d’une bidimensionnalité aux échanges culturels, idée qui fait aujourd’hui consensus au sein de la communauté scientifique. Lors d’un contact continu entre 2 groupes, il n’y a pas seulement intégration d’une nouvelle culture mais aussi maintien de la culture d’origine qui produit un impact sur la manière dont se fait l’acculturation et sur son résultat.

La situation de l’Asie au moment de la colonisation était de plus particulière. En effet, l’Europe rencontre alors des civilisations millénaires qui connaissent l’écriture (depuis même plus longtemps qu’elle) et qui, par conséquent, ont une mémoire écrite. Ce fut là une différence capitale avec, par exemple, les civilisations de l’Amérique du Sud. De culture majoritairement orale, elles se montrèrent beaucoup moins résistantes au contact d’une autre culture, et ce d’autant plus que celle-ci fut imposée par la force. Ainsi, si certains pays d’Amérique du Sud, tels que le Pérou, une partie du Mexique et du Guatemala, conservent des traits très forts de leur culture originelle, la plupart des autres ne présentent que de très rares éléments autochtones comme c’est le cas par exemple au Chili. Une autre différence qui fait la particularité de l’Asie à cette époque réside dans la manière dont les contacts entre les cultures se sont effectués. Les colonies en Asie ne furent pas des colonies de peuplement. Les Européens procédèrent par l’établissement de comptoirs qui laissaient de côté des territoires immenses et très peuplés. Les contacts avec la culture occidentale étaient ainsi indirects et laissaient une plus grande marge de manœuvre aux indigènes, susceptibles d’assimiler plus librement les éléments de la culture dominante.

Durant la colonisation française au Vietnam, il y eut effectivement acculturation. Toutefois, cela n’a pas seulement conduit à l’intégration de la culture européenne mais aussi, fort heureusement, au maintien de la culture indigène. L’architecture de la cathédrale de Phat Diêm est l’une des premières manifestations de ce phénomène culturel.

Un exemple architectural d’acculturation
Haut lieu du catholicisme dans le Nord à l’époque de la colonisation française, la division du pays en 1954 entraîna le départ en masse vers le Sud de catholiques et la fermeture du sanctuaire. Ce qui est appelée “cathédrale de Phat Diêm” regroupe en fait de nombreux édifices dont la construction fut achevée en 1891. L’ensemble fut fondé par un prêtre vietnamien du nom de Six dont le tombeau se trouve sur le parvis de la cathédrale, bâtiment principal. Tout autour se dressent plusieurs sortes de chapelles, chacune dédiée à un saint. Cependant, si en visitant ce lieu de culte catholique, vous vous attendez à retrouver les grandes tours qui font la caractéristique de ces bâtiments, vous repartirez déçus. Tout en pierre, aux toits incurvés semblables à ceux d’une pagode, l’architecture de ce lieu s’inspire largement de celle des temples bouddhistes. Le mélange des 2 cultures est ici indéniable.

Le prêtre Six a veillé à représenter les éléments principaux du village vietnamien, à savoir la maison communale, l’étang et l’arbre nourricier tandis qu’un clocher, élément indispensable à tout lieu de culte catholique s’élève à l’arrière de la cathédrale. Toutefois, au premier étage de ce clocher, on retrouve un tambour de taille imposante, instrument utilisé pour sonner l’heure dans la religion bouddhiste. Au second étage, est suspendue une cloche, forgée toutefois selon le modèle oriental. Elle possède 4 points de contacts pour sonner l’heure, un par saison. Chacune d’elles est identifiée par un sinogramme tandis qu’un chant de prière est inscrit sur celle-ci en langue latine. Quatre petites tours se dressent à chaque coin du bâtiment, chacune surmontée d’une représentation d’un saint. Toutefois, alors que ceux-ci sont traditionnellement représentés debout, ici, ils sont assis à la manière du Bouddha.

Quittons la cathédrale pour entrer dans l’une des nombreuses chapelles entourant celle-ci. Les traces de l’influence de la culture européenne se mêlant à celle sino-vietnamienne demeurent. Au fond de la chapelle, se dresse un autel de pierre surmonté d’une statue de la Vierge Marie. Les bas-reliefs sur la face frontale de cet autel présentent les symboles occidentaux de la pureté : un jardin ainsi qu’un puits fermés. Les faces latérales quant à elles, sont gravées de fleurs de lotus, représentation de cette même idée de pureté dans l’imaginaire oriental.

L’importance d’une politique culturelle
L’architecture sino-vietnamienne d’inspiration européenne de ce bâtiment n’est qu’un des nombreux exemples de l’impact de la culture européenne sur la culture vietnamienne lors de la colonisation. Cela montre toutefois que, dans le cas du Vietnam, la culture indigène n’a pas été détruite mais maintenue. Ceci s’explique pour une grande part, par sa tradition de culture écrite qui a permis de forger une identité collective forte, c’est-à-dire un ensemble de caractères qui unissent les hommes et femmes d’un même groupe mais qui les distinguent également des autres groupes.

Ainsi, quelle que soit la force de l’acculturation sur un plan économique et même social, le fait qu’il existe une culture écrite permettant de forger une identité collective forte, autorise un échange entre les cultures (échange au demeurant toujours inégal) et non une destruction de celles-ci. Toutefois, aujourd’hui, peut-être plus qu’hier, la culture est intiment liée au domaine économique, facilitant d’autant la destruction de systèmes culturels.

D’où la nécessité pour chaque pays de défendre celle-ci par une politique culturelle capable de faire face aux enjeux de la mondialisation. Tel est l’objectif de la convention pour la promotion et la protection de la diversité culturelle, établie par l’UNESCO en octobre 2005. L’importance des enjeux soulevés par ce traité est largement reconnue au niveau international puisque depuis lors, il a été signé et ratifié par 56 pays et l’Union européenne (en tant qu’unité régionale). Le fait que les États-Unis, dont le secteur culturel occupe une place majeure dans l’économie américaine, s’oppose à son adoption lors du vote à l’UNESCO, ne fait que confirmer cette idée. (Anaïs Chavanne /CVN

 

Document à l’entête de la “MAISON DE L’EMPEREUR . CABINET DU GRAND-MAÎTRE DES CEREMONIES “

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Document à l’entête de la “MAISON DE L’EMPEREUR . CABINET DU GRAND-MAÎTRE DES CEREMONIES “- “A PARIS , le ? 186?”
“Reçu une lettre de son ? le Grand Maître de Cérémonie de l’Empereur” – “Le 1er ambassadeur de S.M. le roi d’Annam” – Signature calligraphique de Phan Thanh Giang.
(Etat: pli horizontal marqué et bords poussiéreux) – prti à 136 € + 1,20 €

-Vietnam, Saïgon, Le Trésor, 1952 & Le Marché de Tân Dinh, 1953

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Sud-Vietnam, Saïgon, Le Trésor, 1952

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 Sud-Vietnam, Saïgon, Le Marché de Tân Dinh, 1953

Annam, Huê. Vue sur la Pagode des Cantonais

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Annam, Huê. Vue sur la Pagode des Cantonais

 Annam, Huê. Eléphants royaux à l’entrée du Palais.

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Annam, Huê. Eléphants royaux à l’entrée du Palais.

 Annam. Montagnes de marbre près Tourane – Chef ou Pape des bonzes

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Annam. Montagnes de marbre près Tourane – Chef ou Pape des bonzes

Annam, Huê. Gardiennes et servantes chargées des Cérémonies rituelles au tombeau de Thiêu Tri.

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Annam, Huê. Gardiennes et servantes chargées des Cérémonies rituelles au tombeau de Thiêu Tri.

 ANNAM. Obséques de SM KHAI DINH. Acteurs, 1925

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Annam. Obséques de SM Khai Dinh. Acteurs, 1925

 “Intronisation de S.M. Bao Dai dernier Empereur d’ANNAM – Musique traditionnelle au Palais Thai Hoà” le 08 janvier 1926

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“Intronisation de S.M. Bao Dai  dernier Empereur d’ANNAM –  Musique traditionnelle au Palais Thai Hoà” le 08 janvier 1926 

Annam. Mandarin rendant la justice.

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Annam. Mandarin rendant la justice

PHOTO OF THE DELEGATION OF PHAN THANH GIAN IN PARIS IN 1863 BY Disdéri.
 

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Adolphe-Eugène Disdéri, Mandarins who participated in the peace treaty

Hue (Annam) April 16, 1863,

Albumen print, 24 x 28 cm.

A photograph of Disdéri (catalog No. 104, albumen print, 24 x 28 cm, Disderi stamp on the carton, estimate € 1000/1200) will be sold at the Galerie de Chartres May 7, 2011. It represents a group portrait, “Mandarins who participated in the peace treaty in Hue (Annam) April 16, 1863,” the delegation is sent to Saigon by Emperor Tu Duc to negotiate the peace treaty of 1862.

By the treaty signed June 5, 1862 and ratified on 16 April 1863 Hue, Vietnam cedes to France the three eastern provinces (Gia Dinh, Bien Hoa and My Tho) and the islands of Con Dao (Pulo Condor) opens three ports (including Da Nang) to trade between France and Spain, will pay a war indemnity of four million dollars and finally tolerate the freedom of Christian worship. The two principal ambassadors were then Phan Thanh Gian Lam Duy and Tiep. We know that during their stay in Saigon, Vice-Admiral Bonard had been photographed and the photographs had been the model for the engravings published in L’Illustration of November 29, 1862 bearing the words “from the photographs provided by M. Rigault, corresponding Vice-Admiral Bonard. ”

Detail. Signatures of ambassadors

Disdéri of photography.

Three inscriptions in Chinese characters found on the carton assembly, between photography and Disderi stamp, bearing the names of three ambassadors:

Center: 正 使 潘清 简 Phan Thanh Gian chanh knew, “the first ambassador, HE Phan Thanh Gian (1796-1867)”

Right: 副使 笵 富庶 Pho Phu Pham Thu knew “Vice-Ambassador Pham Phu Thu”

Left: 陪 使 魏克 袒 boi knew Nguỵ Khac Djan, “Deputy Ambassador Nguy Khac Dan.”

Thus, it is not coming from the embassy in Saigon negotiate the Treaty of 1862 (ratified in Hue in April 1863), but the embassy that was from the Emperor Tu Duc in July 1863, under the pretext of thanking the gifts sent by Napoleon III, to negotiate the purchase of the three eastern provinces.

The delegation left Saigon on July 4, 1863 a French warship to reach Suez August 17th where she embarked on the Labrador to win Toulon on September 10. She arrived in Paris on September 13 and was received by the Minister of Foreign Affairs, M. Feuillet de Conches on the 18th September, on behalf of the emperor who was on holiday in Biarritz.

At the request of the Emperor Napoleon III, Jacques-Philippe Potteau (1807-1876), who was the successor of Louis Rousseau at the Natural History Museum and devoted himself to scientific and ethnographic photography, was designated to capture the photographic portrait the ambassador and his entourage. At the first meeting (September 20, 1863), he made two portraits of Ambassador Phan Thanh Gian, one sitting, the other foot (currently kept at the Laboratory of Anthropology of the Museum of Natural History in Paris, No. 10,608 and No. 10,610), one of Pham Phu Thu, one of Nguy Khac Dan and a group. These portraits were presented at the meeting of December 15, 1863.

Jacques-Philippe Potteau, Portrait of HE Phan Thanh Gian.

Laboratory of Anthropology Museum of Natural History, Paris.

In the Journal of the embassy, ​​Pham Phu Thu noted:

“At ngo (noon), the sky became a little calm. Dressed in the costume of the court, one by one we went to the floor of the hotel which is covered with glass, and we shoot we did. Here is the essence of photography: first we take a glass plate covered with a combination of liquids: it is placed behind a glass tube, before which stands the person who looks inside of the opposite tube, under the action of sunlight coming through the tube, the glass plate receives the impression of an image, there is not even a hair of difference. The Europeans used to do this operation with great desire. All those with whom we just want to know talk to you a portrait of the upper and lower are all the same, saying they see is the testimony of a memory reciprocal.

In the following, under the conduct of the staff, photographers often came with their camera to the hotel and invited us to shoot us, they gave us each a copy of these portraits. After the draw, each of the small amounts to a huge portraits, price of labor, those who are slightly larger cost 4 or 5 francs “(Pham Phu Thu, (trans. Tran Xuan Toan),” The Embassy of Phan Than Gian (1863-1864) “BAVH, 1921, p. 156.)

Thus, after Jacques-Philippe Potteau, Adolphe-Eugène Disdéri (1819-1889) was one of the photographers who were invited to capture the features of the Ambassador and the delegation. The photograph will be on sale May 7, 2011 Chartres was performed on this occasion.

In 1854, Disdéri invented a new camera which lets you play six shots on the same glass plate and patented the format of the card whose paternity of the invention is to be attributed either to Marseille Dodero Aguado. The fashion for portraits-cost cards spread rapidly in France.

In the Journal of the Embassy, ​​Pham Phu Thu noted that: “The 20th Day (1 November 1863) it rained. At vi (from 1 to 3 pm), Mr. Cam-ba-xa-the GIO, French Minister of Rites [Author’s note: This is the Grand Master of Ceremonies], we did bring in an official letter which stated that “At vi (from 1 to 3 pm) the 24th day, he would take us, and in the middle of the same vi hours, we came to the Royal Court of France. “Soon after, Mr. Ha-ba-ly [Author’s note: this is Mr. Aubaret, Commander, Officer of Foreign Affairs, who served as interpreter during the stay of the mission in France.] Brought us three cards and said that the Minister of Rites did convey his compliments to the three of us. At nightfall, he returned and took us three cards in response to the compliments of the Minister “(Pham Phu Thu (trans. Tran Xuan Toan),” The Embassy of Phan Thanh Gian, 1863-1864, “Bulletin Friends of Old Hue, 1921, No. 1-4, pp. 266-267).

Document signed by Phan Thanh Gian

Personal collection.

In October 2007, a document dated 01st November 1863, was sold on ebay. This is a certificate signed by the hand of Phan Thanh Gian confirming the receipt of a letter from the Grand Master of Ceremonies of the Emperor.

Phan Thanh Gian signatures

Left: on the document to the head of the Cabinet of the Emperor

Right: the photograph of Disdéri.

By comparing this signature with that appearing in the photograph of Disdéri, it is undeniable that this is the manual signature of Phan Thanh Gian. This photograph had to be carried out between November and December 1863.

The reception of the ambassadors of Annam was held November 7 at a public hearing at the Palais des Tuileries, after the return of the Empress Eugenie of Spain, where she was visiting her family. The emperor was not opposed to negotiations. He relied on the payment of 85 million promised by the king of Annam to offset the deficit of 972 million francs. After the reception, the negotiations began, and November 12, Le Moniteur Universal announced that the peace treaty of June 5, 1862 would be amended. Once his mission is completed, Phan Thanh Gian left France carrying with him his photographic portraits by Jacques-Philippe Potteau (01st November 1863) and Adolphe Eugene Disdéri (November-December 1863) and by other photographers.

Details: Adolphe-Eugène Disdéri, Mandarins who participated in the treated

Peace in Hue (Annam) April 16, 1863,

Albumen print

ORIGINAL INFO IN fRENCH

PHOTO DE LA DELEGATION DE PHAN THANH GIAN A PARIS EN 1863 PAR DISDERI.

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Annam, Huê. le Président du Conseil dela famille royale en costume de cour.

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Annam. University Bachelor Students, 1908

The Vintage Asia Artwork Collections Part Two

MUSEUM DUNIA MAYA DR IWAN

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

THE VINTAGE ASIA ARTWORK COLLECTIONS PART TWO

The  Collection of Asian Art & Fine Japanese Works of Art

 

“The Way of the Master – The Great Artists of India, 1100–1900″ @ Museum Rietberg in Zurich

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Self-Portrait and Portraits of Artists (detail) By Daulat, Mughal, c. 1610 © Golestan Palace Library, Tehran. Photo: Davood Sadeghsa

800 years of Indian painting, about 200 masterpieces by more than 40 artists – and all this at a glance. Never before has it been possible in the West to acquaint oneself with the entire history of Indian painting at a single exhibition.

The inventiveness and colour sense of artists such as Abd al-Samad, Farrukh Beg or Nainsukh are as impressive as their names are exotic. Acclaimed by their contemporaries as “wonders of the age”, they can without hesitation be compared to Dürer, Michelangelo or Vermeer. It therefore comes as no surprise that Rembrandt also assembled a collection of Indian miniatures.

Supported by Novartis and the Schwyzer Foundation

From September 2011, this exhibition will be on view at The Metropolitan Museum of Art, New York.

1 May – 21 August 2011. Museum Rietberg Zurich

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Akbar Presents a Painting to His Father Humayun. By ‘Abd al-Samad. Mughal, probably Kabul, c. 1550–1556. © Golestan Palace Library, Tehran. Photo: Davood Sadeghsa

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Self-Portrait and Portraits of Artists By Daulat, Mughal, c. 1610 © Golestan Palace Library, Tehran. Photo: Davood Sadeghsa

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Prince Salim Enthroned. By Manohar (Portrait) and Mansur (Throne). Mughal, dated 1600/01 © The Institute of Oriental Manuscripts of the Russian Academy of Sciences, St. Petersburg, 2011

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Krishna playing Blindman’s Bluff. By Manaku. Pahari region, Guler, c. 1750 © The Kronos Collections

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Dialectica. By Abu’l Hasan. Overpainted engraving by Marten des Vos, after Jan Sadeler. Mughal, c. 1602/03 © The Institute of Oriental Manuscripts of the Russian Academy of Sciences, St. Petersburg, 2011

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Ram Singh I of Kota Pursuing a Rhinoceros. Attributed to a Kota master. Rajasthan, Kota, c. 1700 © Private Collection

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Rawat Gokul Das at a Hunting Party. By Bagta. Rajasthan, Mewar, Devgarh, dated 1808 © Trustees, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (Formerly Prince of Wales Museum of Western India)

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Shiva, Solicitous of his Other Half. By Devidasa. Pahari region, Basohli, dated 1695 © San Diego Museum of Art

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Rupmati and Baz Bahadur Hunting. Attributed to the First Bahu Master. Pahari region, Bahu, c. 1700 © Museum Rietberg Zürich, long-term loan Barbara and Eberhard Fischer. Photo: Rainer Wolfsberger

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Chameleon. By Mansur. Mughal, c. 1595–1600. Royal Collection © 2011 Her Majesty Queen Elizabeth II

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Raja Balwant Singh of Jasrota Contemplating a Painting with the Painter Nainsukh. Attributed to Nainsukh. Pahari region, Jasrota, c. 1745–1750 © Museum Rietberg Zürich. Photo: Rainer Wolfsberger

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Ascetics in the Dandaka Forrest. Master of the First Generation after Nainsukh and Manaku. Pahari region, Kangra/Guler, c. 1780 © Museum Rietberg Zürich,

Thousand Years of the Persian Book of Kings @ Museum of Islamic Art Berlin

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Der Held Sam holt seinen. Sohn Zal vom Berg Alborz zurück. Tabriz, um 1530. Museum für Islamische Kunst, Inv.-Nr. I. 5/82 © Staatliche Museen zu Berlin, Museum für Islamische Kunst, Foto: I. Geske

BERLIN.- UNESCO has designated the year 2010 as Millennium year of the Shahname. The Museum of Islamic Art in Berlin and the Berlin National Library are seizing the opportunity to introduce this literary masterpiece to the public with their world-renowned collections of Shahname manuscripts and miniature paintings. The exhibition, on view from March 19 through July 3, 2011, communicates the history of the epic and its literary highlights, as well as the important role the Shahname for Persian national identity.

The National Epic Shahnameh by the poet Ferdausi is one of the great works of world literature. In nearly 50,000 verses, it recounts a partly mythical, partly historical past of the Iranian people right up to the Islamic conquest of Persia.

Legendary are the stories of its famous kings and heroes, especially of Rustam who so fearlessly defended the Persian kingdom in many spectacular battles against the hostile Turanians from the North. The epic also relates the important features of ideal kingship. It narrates the battle between Good and Evil, and is a constant reminder that Life is just a transitory memento. Ancient Kings of Persia figure in prominently, like Shah Ardashir I, the founder of the Sasanian Dynasty (224-239/40) or Shah Bahram V Gur, the fourteenth Sassanid King (421-438): Historical figures transformed by poetic imagination into quasi-mystical figures transformed by poetic imagination into quasi-mystical heroes. The exhibition thus confronts archaeology of these periods with the stories of those figures both historical and heroic, and sometimes mythical in the Shahnameh.

Beside a thematic show of the Shahnameh ‘through the ages’ with masterpieces of Persian painting, the exhibition presents the rich and extremely rare Sasanian collection of the Museum of Islamic Art thus illuminating the important historical past of the mythical legend.

The exhibition includes around 50 manuscripts and folios from the Keir Collection, the National Library, and the Museum of Islamic Art (amongst others the world famous folios from the yet far too little known Diez-Albums, the Great Mongol Shahnameh and the Shah Tahmasp Shahnameh) as well as medieval ceramics, textiles, metalwork and weapons plus artifacts from the Sasanian collection. These artworks are supplemented by important loans from the Berlin Museum of Asian Arts, the Berlin Museum of Ethnology and the Deutsche Historische Museum (DHM) and loans from two German private collections.

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Der Dichter Ferdausi trägt Sultan Mahmud aus dem. Schahname vor. Tabriz, um 1530. Museum für Islamische Kunst, Inv.-Nr. I. 5/77 © Staatliche Museen zu Berlin, Museum für Islamische Kunst, Foto: I. Geske

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Der mythische Köng Dschamschid lehrt die Menschen das Schmieden und Schneidern Schiraz, 823/1420. Museum für Islamische Kunst, Inv.-Nr. I. 4628, S. 12 © Staatliche Museen zu Berlin, Museum für Islamische Kunst, Foto: I. Geske

04_PrinzSiyavoschbestehtFeuerprobe

Prinz Siyavosch besteht die Feuerprobe. West Iran, 1390–1410. Staatsbibliothek zu Berlin PK, Orientabteilung, Diez A fol. 71, S. 27 © Staatsbibliothek zu Berlin PK, Orientabteilung

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Sasanidische Jagdschale. Iran, 7. Jh. Museum für Islamische Kunst, Inv.-Nr. I. 4925 © Staatliche Museen zu Berlin, Museum für Islamische Kunst, Foto: J. Anders

06_Pferdekopf

Pferdekopf einer lebensgroßen Reiterdarstellung.. Nizamabad, 7.–1. Hälfte 8. Jh. Museum für Islamische Kunst, Inv.-Nr. I. 4886 © Staatliche Museen zu Berlin, Museum für Islamische Kunst

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Fliese mit der Darstellung von König Bahram Gur und Fitne. Iran, um 1900. Ethnologisches Museum, Inv.-Nr. I B 4408 © Staatliche Museen zu Berlin, Ethnologisches Museum, Foto: M. Franken

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Rostam ringt mit Puladvand„ Kleines Diez-Schahname“. Isfahan, 1330–1335. Staatsbibliothek zu Berlin PK, Orientabteilung, Diez A fol. 71, S. 45, Nr. 3 © Staatsbibliothek zu Berlin PK, Orientabteilung

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Der Schwarze Div Khazarvan tötet den Thronfolger des ersten Königs. Gayumars, Siyamak. Schiraz, ca. 1560–1570. Staatsbibliothek zu Berlin PK, Orientabteilung, Ms. or. fol. 359, Bl. 12b © Staatsbibliothek zu Berlin PK, Orientabteilung

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Der Div Akvan trägt den schlafenden Rostam fort. Lithographie, Tabriz 1858 © Privatsammlung U. Marzolph. Foto: U. Marzolph

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Der Div Akvan trägt den schlafenden. Rostam fort. Lithographie, Tabriz 1858 © Privatsammlung U. Marzolph. Foto: U. Marzolph

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Der Wesir offenbart Ardaschir seinen Zustand Einzelblatt aus dem „Großen Mongolischen Schahname“. Tabriz, 1325–1335 © Staatliche Museen zu Berlin, Sammlung Edmund de Unger/Museum für Islamische Kunst, Inv.-Nr. U. 23, Foto: I. Geske

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Haftwad und der Wurm. Aus dem Dschahangir-Album. Indien, datiert 1617/18. Staatsbibliothek zu Berlin PK, Orientabteilung, Libri picturati A 117, fol. 14r © Staatsbibliothek zu Berlin PK, Orientabteilung

14_Ahriman

Ahriman (Goebbels), als Koch verkleidet, vor dem Tyrannen Zahhak (Hitler). Die beiden Schlangen, die aus seinen Schultern wachsen, zeigen die Gesichter Mussolinis und Tojos. Antideutsche Kriegsprogandaposter aus Iran während des zweiten Weltkriegs. London (?), 1942 © Privatsammlung U. Marzolph, Foto: U. Marzolph

Treasures from Ancient China III, which will include an exceptional Pan bronze vessel decorated with a snake, from the Shang dynasty (13th-11th century B.C.), and a beautiful three-color glazed horse from the Tang Dynasty (8th century A.D.). 0_

A three-colour Horse, earthenware in sancai glaze, China, Tang Dynasty (618-907). Courtesy Galerie Christian Deydier

Early Chinese Metalwork in Gold and Silver; Works of Art of the Ming and Qing Dynasties is the title of Eskenazi Ltd.’s March exhibition, which will focus on rare and luxurious articles made for emperors, courtiers and scholars and feature exquisitely decorated pieces from the Tang Dynasty (618-907 A.D.). The London-based dealer will show at the Ukrainian Institute, 2 East 79th Street, New York 10075. T (212) 288 8660. 0_

Silver-gilt Melon-shaped bix cover, Tang Dynasty (618-907). Courtesy Eskenazi Ltd

MD Flacks Ltd. of 32 East 57th Street will present Scholar’s Trays, as part of the gallery’s series of exhibitions that concentrates on small treasures and Scholar’s Objects. The show, believed to be the first of its kind in America, will focus on 17 examples of 17th-, 18th- and early 19th-century trays, mainly for use in the Scholar’s Studio as part of the rituals involved with burning incense, drinking tea, calligraphy and painting and thus an essential part of the Scholarly Ideal that was so venerated in China. The variety of treatments of this form offers a wide range of styles, shapes and materials. 0_

Foliate Trays, Huanghuali wood/marble, China, 17th century. Courtesy MD Flacks Ltd

Michael C. Hughes LLC will present Chinese Sculpture & Other Works of Art at Mark Murray Gallery, 39 East 72nd Street, 5th Floor. Two important highlights of this exhibition are a massive, glazed, striding Bactrian camel formerly in the collection of Bernice Richard and an extremely rare, colorful-glazed earth spirit formerly in the Tsui Museum of Art, Hong Kong. Both date to the Tang Dynasty (618-907 A.D.). 18 – 26 March,  2011. 0_

Massive rare sancai and turquoise-glazed potteru earth spirit, Tang Dynasty, 8th century. Courtesy Michael C. Hughes LLC

Early Chinese Ceramics-Asian Works of Art will be presented by Andrew Kahane, Ltd. at 42 East 76th Street. Featured works will include a Chinese Longquan celadon bowl of the Southern Song Dynasty (late 12th-early 13th century) and an Indonesian gold Kala head from Eastern Java, South Malang in the late Singhasari-early Majapahit Period (13th-early 14th century). Both objects were made for court use, the first in China and the second in Java and come from Buddhist traditions. Indonesian gold Kala head from Eastern Java, South Malang in the late Singhasari-early Majapahit Period (13th-early 14th century). Courtesy Andrew Kahane Ltd

Asian Journeys: Chinese, Japanese and Korean Paintings and Ceramics, accompanied by Kaikodo Journal XXVII, will be shown by Kaikodo at 74 East 79th Street, Suite 14B, featuring Chinese, Japanese and Korean paintings along with a range of ceramics from China, Korea and Vietnam to provide the material for a grand tour through time, space and psyche, where borders might appear flung open and at other times almost impermeable. Items range from 8th-century Korean ceramics and early 13th-century Chinese paintings to 19th-century Japanese works of art. 19 March – 28 April,  2011. 0_

Large Korean Blue-and-White Dragon Jar, Joseon Dynasty, 18th century. Courtesy Kaikodo

J.J. Lally & Co. of 41 East 57th Street will exhibit Ancient Chinese Bronzes, a show of bronze vessels, figures, animals and other works of art made for ritual use or as emblems of power and status in ancient China. The finely cast and inlaid bronzes date from the Shang Dynasty (circa 1500-1050 B.C.) through the Han Dynasty (206 B.C.-220 A.D.).

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An Archaic Bronze Taotie Mask, early Western Zhou Dynasty, 10th-9th  c. BC. Courtesy J.J. Lally & Co.

Contemporary Chinese Ink Paintings, Featuring Lotus Paintings by Shi Ze will be shown at M. Sutherland Fine Arts, Ltd., 55 East 80th Street, 2nd Floor. Shi Ze (born 1960, Beijing) first showed at the gallery in 2003. His works now, as then, are fresh and untrammeled views of the important Buddhist symbol of purity, the lotus and uses techniques and materials from traditional Chinese ink, Western oil and Tibetan thanka painting.

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Shi Ze (born 1960, Beijing), Pink Lotus on Blue Background, 2010. Courtesy Sutherland Fine Arts, Ltd

The John Menke Collection of Vietnamese Ceramics will be on view at Zetterquist Galleries, 3 East 66th Street, Suite 1B. The encyclopedic collection from the Dong Son Culture (700-43 B.C.) through the 17th century was assembled over more than 40 years by the eminent scientist, John Menke. Zetterquist Galleries has selected more than 50 pieces for their historical importance and beauty and will offer a rare opportunity to view together 17 centuries of the Vietnamese ceramic tradition. Many of the works in this exhibition have been published in major Vietnamese ceramics books in the U.S. and Europe over the last two decades.

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Four Islands plate, Vietnam, 16th century. Courtesy Zetterquist Galleries

Ralph M. Chait Galleries will also participate in Asia Week New York 2011; exhibition information was unavailable at this writing. Details will be available in the coming weeks. 19 – 26 March,  2011, Mon – Sat    10 – 6pm. 724 Fifth Avenue, 10th Floor, New York, NY 10019. T (212) 397 2818 – F (212) 319 0471 -0_

Fine Imperial Chinese Blue and White Mallet Vase (1662-1722). Courtesy Ralph M. Chait Galleries

Indian, Himalayan and Southeast Asian Art and Antiques Also among the AADNY exhibitors this year are 15 dealers of Indian, Himalayan and Southeast Asian art and antiques. Viewers will find a treasure of paintings, textiles, jewels, bronzes and other metal pieces and much more dating from the second century A.D. to the 18th century.

Leiko Coyle Asian Art will exhibit Recent Acquisitions at 311 East 72nd Street, Suite 15E. The show will include an extensive collection of Tibetan thangkas dating from the 14th-19th centuries. Highlights from the collection include an 18th-century, large-scale painting of the Buddha Amitayus commissioned in 1778 by the Qianlong Emperor to honor the visit of the sixth Panchen Lama. Also on view will be three-dimensional works in bronze, wood and stone from Tibet, Nepal, and India.

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Buddha Amitayus, 1779-1780, from the Xumifushou Temple, Chengdu, China. Courtesy Leiko Coyle Asian Art

From the Himalayan Regions: Sculptures, Tangkas and Textiles is the exhibition to be presented by Carlo Cristi of Italy at AFP Galleries, 41 East 57th Street, Suite 702. It will feature fine collections of Tibetan paintings ranging from the 13th-17th centuries, Nepalese and Indian bronzes dating from the 10th-12th centuries and Central Asian textiles dating from the 6th-10th centuries along with needle loop embroideries of the Ming Dynasty (1368-1644 A.D.). 09

Wooden tablet painted with Amitabha flanked by boddhisatvas. Tibet, 13th century, wood, pigments. Courtesy Carlo Cristi

Also traveling from Italy is Dalton Somaré from Milan. Early Indo-Buddhist Art will be shown at Pace Gallery, 32 East 57th Street, 7th Floor, and will include very early works of art from the Indian Subcontinent. Among them is an Anthropomorph copper figure from the Gangetic Planes (2nd Millennium B.C.), impressive for its size, as well as several stone images of the Indus Gods Vishnu and Shiva from different periods (6th-11th centuries) from India and Nepal. Also on view will be Himalayan and Indian Buddhist bronzes, including an extremely fine 11th-century Pala Padmapani.

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Manjusti Boddhisatva, Tibet, 15th centuiry. Gilt copper, semiprecious stones,,pigments. Courtesy Dalton Somaré

John Eskenazi Ltd. of London will offer Recent Acquisitions at Adam Williams Fine Art Ltd, 24 East 80th Street. A particular highlight of the show is a charming terracotta fragment of Dancing Shiva from 5th/6thcentury Eastern India, Bihar or Bengal, originally part of a rectangular panel that occupied a ghanadvara (solid aperture) on a temple wall. Both joyful and thoughtful, the image is one of the most easily recognized forms in Indian art and, in this early example, Shiva dances for the delight of his fellow gods.

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The birth of Buddha.. Eastern India, 6th century, terracotta. Courtesy John Eskenazi Ltd

Indian Miniature Paintings from the Lloyd Collection will be presented by London-based dealers Oliver Forge & Brendan Lynch Ltd. at 9 East 82nd Street, Suite 1A. The exhibition comprises a remarkable group of 25 Mughal, Rajput and Deccani miniature paintings mainly assembled in the 1970s and ’80s by a private English collector. A number of the most important paintings were acquired at two milestone London exhibitions, at Colnaghi in 1978 and 1979, and others at auction.

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An assembly of royal pigeons round a dovecote. Mughal India, circa 1660. Opaque watercolour with gold on paper. Courtesy Oliver Forge & Brendan Lynch Ltd

Kapoor Galleries will present ‘A Sterling Collection’ of Indian & Himalayan Art at its 1015 Madison Avenue space. The collection, amassed by a private American collector over a 20-year period, contains exquisite examples of Indian miniature painting as well as sculptural masterpieces from India, Nepal & Tibet. The collection consists of 29 Indian paintings and 15 sculptures that were acquired almost exclusively from auctions in New York. 011

Vajradara. Yuan dynasty. Gilt copper with semiprecious stones. Courtesy Kapoor Galleries

Arnold H. Lieberman of 311 East 72nd Street, Suite 6F, will exhibit Recent Acquisitions, an exhibition featuring a large, polychromed wood sculpture of a Chinese Buddhist Abbott, circa 1770; a rare Ninxia skeleton carpet; an elaborate Rajastani shield of painted dahl hide and other distinctive objects primarily from South Asia and the Himalayan regions. 34_A_girl_with_an_Indian_headdress_1_

Lanta. Eastern Tibet or China, 17th or 18th century. Wood with polychrome. Courtesy Arnold H. Lieberman

Exhibition of Jewels from Mughal India and South East Asia will be presented by Sue Ollemans Oriental Art from London, exhibiting this year at Valentina Gallery Inc., 960 Madison Avenue, 2nd Floor, and will feature jewels dating from the 17th 19th centuries and related objects. Along with these will be a collection of jewels from the Deccan and Tamil Nadu in the South of India dating from 12th-20th centuries. Jewels from South East Asia—most importantly Java (dating from 11th-16th centuries07

A gold and ruby Nandi, South Deccan, 17th century or earlier. Courtesy Sue Ollemans Oriental Art

Carlton Rochell Asian Art will offer Indian, Himalayan and Southeast Asian Works of Art at its 44 East 74th Street gallery. Featured will be more than 20 sculptures and paintings from India, Tibet, Nepal and Cambodia. These works hail from prestigious private collections in both America and Europe; works range in date from the 2nd century A.D. to the 18th century. 010

Sarasvati. South India. Hoysala dynasty, mid 12th century. Grey chloritic schist. Courtesy Carlton Rochell Asian Art

John Siudmak Asian Art of London will present Indian and Himalayan Sculptures and Thankas from the Collection of the Late Simon Digby at C.G. Boerner Gallery, 23 East 73rd Street. The exhibition of 30 items comes from the leading historian of ancient India, Simon Digby (1932-2010). Highlights will include the bronze and stone sculpture of the Western Himalayas, including Kashmir and Swat, but other parts of north India, particularly the Pala sculpture of Bihar and Bengal, will also be well represented. Many of the sculptures have been published, of which three were exhibited in the recent Asia Society exhibition, The Arts of Kashmir.

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Censer. Courtesy John Siudmak Asian Art of London

Recent Acquisitions of Master Works of Indian and Southeast Asian Art will be presented by Doris Wiener, LLC at 1001 Fifth Avenue, Suite 3C. Among the objects on display will be an important and early Eastern Indian Vishnu stele, an elegant South Indian bronze Jina, Khmer and pre-Khmer sculptures, a selection of Himalayan gilt bronzes and thangkas and a collection of fine Indian miniature paintings.

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Vishnu. India, Bihar, Pre Pala, 6th-7th century. Grey stone. Courtesy Doris Wiener, LLC

Nancy Wiener, exhibiting this year at Trezza Gallery, 39 East 78th Street, Suite 603, will show Indian and Southeast Asian Sculpture, Jewelry, and Works on Paper from 300 BC to the Present. Highlights will include a superb 11th-century Pala Avalokiteshvara; a splendid Khmer necklace, carved from gold in the shape of intertwined jasmine blossoms; as well as a select group of Indian miniature paintings.

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Kumara, India, Rajasthan, 13th century. Black stone. Courtesy Trezza Gallery

Art of the Past will also be exhibiting during Asia Week New York 2011; exhibitions details will be forthcoming.

Korean and Japanese Works of Art and Contemporary Korean and Japanese Rounding out this year’s extraordinary assemblage of exhibitions will include six shows of Korean and Japanese paintings, ceramics, lacquer, netsuke and more spanning from the late 17th century to today.

200 Years of Korean Art: From Classic to Contemporary will be offered at Kang Collection Korean Art, 9 East 82nd Street, Suite 3A, and will feature artworks from classical, 19th-century paintings through today showcasing ink paintings and screens. The show’s focus is on paintings from the tumultuous period of the late 19th/early 20th century in Korea and China that developed out of turbulent politics and yet diligent cultural exchange between Korea and East Asia. The contemporary art will feature, among others, two cutting-edge Korean women painters rooted in the classic traditions of Korean art. 07

KimGyu-Jin, Chrysanthemum and Rocks, late 19th centiry, Joseon dynasty, ink. Courtesy Kang Collection Korean Art

KooNewYork will present its 10th Anniversary Exhibition of Korean Art at Mark Murray Gallery, 39 East 72nd Street, 5th Floor. The exhibition will showcase a wide range of high-quality, Korean antiques from solid provenanced collections and as well as contemporary ceramics and photography. Among the highlights to be shown is a recently discovered, unique, Large Buddhist Pantheon Drawing from the early 18th century with no known comparable examples in the West.

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Chong Son (Kyumjai, 1676-1759), Chungyangsa Temple Amid Diamond Mountains. Courtesy KooNewYork

Birds of Dawn: Pioneers of Japan’s Sôdeisha Ceramic Movement will be on view at Joan B. Mirviss, Ltd., 39 East 78th Street, 4th Floor. An exhibition over 10 years in the making, this show features the Movement’s three founders (Suzuki Osamu, Yagi Kazuo and Yamada Hikaru), who began their careers with original functional work but soon moved to avant-garde sculptural forms that remain as influential today as they were 60 years ago. 07

Suzuki Osamu (1926-2991), Hanayagu tori; Flamboyant bird, 1991. Stoneware with red slip and ashes glazes. Courtesy Joan B. Mirviss, Ltd

Sydney L. Moss Ltd of London will offer an exhibition, Centenary Exhibitions of Japanese Art, including the Elly Nordskog Collection of Inro, devoted to Japanese art at the Alexandre Gallery, 41 East 57th Street, 13th Floor. This will be Moss’ sixth annual New York exhibition and will feature lacquer, inrō, pipecases, netsuke and other works from the collection of the Californian nonagenarian and grande dame of the heyday of Japanese art collecting in Los Angeles, as well as works from the Edo period. 0_

A remarkable Japanese wood sculpture of Oni Nembutsu, Edo period, 18th century. Courtesy Sydney L. Moss Ltd

Scholten Japanese Art, located at 145 East 58th Street, Suite 6D, will present Monogatari: Tales of Japan, an exhibition of paintings, woodblock prints and a selection of netsuke devoted to the art of story-telling. 07

Mano Gyotei (1874-1934), Raijin, ink and color on silk (detail). Courtesy Scholten Japanese Art

Ink, Wood, and Clay: New Selections of Early to Contemporary Japanese Masterworks will be shown by Kyoto-based Hiroshi Yanagi Oriental Art at Arader Galleries, 1016 Madison Avenue, 2nd Floor. Mr. Yanagi has spent the past year assembling more than 40 fresh and interesting pieces especially for this exhibition, particularly of animal subjects and ceramics from Kyoto. Selected Works by Art Students organized by the Museum of Contemporary Art.

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Jizo Bosatsu. Japan, Kamaura period, late 13th century. Hinoki wood. Courtesy Hiroshi Yanagi Oriental Art

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A parcel-gilt silver repousse figure of Padmasambhava in the aspect of Nyima Oser Tibet, 18th century. Pre-sale estimate $60,000-80,000. Photo: Bonhams

NEW YORK, N.Y.- Bonhams is thrilled to participate in New York City’s Asia Week 2011, which brings together a variety of art outlets to celebrate Asian art from China, India, Japan, Korea, the Himalayas and Southeast Asia. Bonhams will highlight this week with two sales on September 13, 2011—The Sartin Collection of Asian Art and Fine Japanese Works of Art.

The Sartin Collection of Asian Art
The Sartin Collection of Asian Art auction comes from the impressive collection of Peter Sartin, a major supporter of the Pacific Asia Museum and one who had an eye for the unusual and rare. Predominantly consisting of Tibetan, Nepalese and Indian art and artifacts, several objects in the sale were included in the Pacific Asia Museum’s landmark exhibition titled “Wooden Wonders: Tibetan Furniture in Secular and Religious Life” (2004-2005).

Edward Wilkinson, Bonhams Indian, Himalayan and Southeast Asian Art Consultant, states, “This is the most important collection of Tibetan furniture to appear at auction, and combined with the extremely important group of silver works, it presents a wonderful opportunity for connoisseurs and new collectors alike.”

Among this exhibited collection there are several highlights to this sale. Of particular note is a 15th-16th century luminous red painted trunk with two striking “stupas” on the front. In remarkably good condition, this trunk represents the highest standards of Tibetan furniture making, with a pre-sale estimate of $15,000-20,000.

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A storage chest. Tibet, 16th/17th century. Photo: Bonhams

Ground mineral pigments, cloth wood and metal; the tray top with partial remaining decoration of a floral cartouche above a front panel decorated with a deer supported by a large lotus and surrounding leaves within a cusped cartouche. The surrounding flower head trellis pattern is enclosed by gold scrolling form spandrels and similar border. The sides are painted with jeweled offerings. 30 ½ x 11 x 16 ½ in. (77.5 x 27.9 x 41.9 cm.). Estimate: US$10,000 – 15,000
 
Note: As noted in the exhibition catalogue (p. 234) “.. the central cartouche is painted with a mythical animal with a backswept horn resembling Yuan (1279-1368), or earlier, forms of Chinese qilin – or unicorn.Provenance: Acquired from Tony Anninos, San Francisco 2004Published: David Kamansky, editor, Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Chicago, 2004, no. 58, p. 234.Exhibited: Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Pacific Asia Museum, Pasadena, CA, Nov. 13, 2004 – February 13, 2005, no. 58.
 
Greatly important and extremely rare are three 15th-16th century altar tables (estimated at $8,000-12,000, $5,000-8,000 and $4,000-6,000, respectively). These tables each consist of prolific carved aprons and cabriole legs. The detailing exudes the distinctive Tibetan style of power and grace.
 
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An altar table. Tibet, circa 15th century. Photo: Bonhams
 
Ground mineral pigments and wood; the plain rectangular top above a foliate carved inset panel frieze and similar deep apron, centered by a precious jewel, raised on elaborate cabriole legs with scrolling floral terminals. 24 ¼ x 10 ½ x 15 in. (61.6 x 26.7 x 38.1 cm.). Estimate: US$8,000 – 12,000
 
Published: David Kamansky, editor, Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Chicago, 2004, no. 9, p. 185.Exhibited: Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Pacific Asia Museum, Pasadena, CA, Nov. 13, 2004 – February 13, 2005.
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An altar table. Tibet, 15th/17th century. Photo: Bonhams
 
Wood with traces of pigments; the rectangular top above a heavily carved frieze with five large flower heads raised on short cabriole legs.
21 ½ x 11 x 15 in. (54 x 27.9 x 38.1 cm.). Estimate: US$5,000 – 8,000
 
Provenance: Acquired from Lucca Corona, Kathmandu, Nepal, 2004
 
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An altar table. Tibet, 16th/17th century. Photo: Bonhams
 
Wood with traces of pigments; the rectangular inset tray top painted red above a deep frieze with three inset floral cartouches supported by a front panel of carved heavy floral and scrolling forms. 30 x 15 x 20 in. (76.2 x 38.1 x 50.8 cm.). Estimate: US$4,000 – 6,000
Provenance: Acquired from Ian Alsop, Santa Fe, 2004.Published: David Kamansky, editor, Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Chicago, 2004, no. 23, p. 200.Exhibited: Wooden Wonders: Tibetan Furniture in Secular and Religious Life, Pacific Asia Museum, Pasadena, CA, Nov. 13, 2004 – February 13, 2005.
 
In addition to furniture, is a highly important collection of Tibetan ritual silver objects, some of which are the finest known examples in private hands. One particular highlight, among several, is an 18th century parcel-gilt silver repoussé of figure of Padmasambhava. The Padmasambhava sculpture is a portrait of the historical figure who was responsible for establishing Vajrayana Buddhism in Tibet in the 8th century. He is depicted in the form of Nyima Oser, one of his eight manifestations (est. $60,000-80,000).
 
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A parcel-gilt silver repoussé figure of Padmasambhava in the aspect of Nyima Oser. Tibet, 18th century. Photo: Bonhams
 
Inset stones and based seal with original contents; In the appearance of a mahasiddha he gazes directly ahead with a benevolent expression. Adorned with a skull crown around a high topknot, he wears an incised sash across his right shoulder that partially covers a large pectoral secured by four double-beaded bands tied by dorjes . He wears a tiger skin dhoti and is seated on a lotus platform with scalloped leaves. A katvanga staff rests on right left shoulder and the left hand rests in his lap. The right hand is placed across the knee performs a mudra with the index finger extended and would have likely held a lasso. 30 ¾ in. (78 cm.). Estimate: US$60,000 – 80,000
 
Provenance: Sotheby’s, London, June 13 and 14, 1988, lot 106
Collection of Kate Kemper
Christie’s, New York, September 23, 2004, lot 156The identity of this sculpture has been subject to variations over the past twenty years. However, with the presence of the katvanga staff, skull crown and arrangement of the hands this would appear to be certainly a manifestation of Padmasambhava in the form of Nyima Oser.The contents that were used to concecrate the sculture when it was made were revealed when the sculpture was sold by Sotheby’s, London in 1988. Directly after the sale the sculpture was resealed with the contents and it has remained intact since then. The contents are recorded to include a silver prayer wheel, an iron purba, a silver gau box, multiple inscribed and illustrated prayer scrolls, tsa-tsa, mala beads and counters, various cloth fragments and pouches, teeth of venerated lamas, and lengths of human hair identified to owners 
 
In terms of refinement, the silver ritual vase offered in this sale is an ideal representation of great attention to detail with its staggering complex display of skeletal figures, skull bowls and animals associated with the charnel grounds. Because of its rarity, it was most likely kept in a private chapel and only used for specials ceremonies (est. $50,000-80,000).
 
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A ritual offering vase with Smashana Adipati. Tibeto-Chinese, circa 18th century. Photo: Bonhams
 
Raised on a tapered lotus foot, the body of the vase is decorated with scenes of the cremation or charnel grounds between a sea of flames and beaded garlands. Ornamented with various ritual implements including; a flaming sword, ritual axe, and conch as well as birds of prey, and mythical beasts. Scattered in the composition are a variant of the seven gems of the chakravartin including; a coral branch, a pair of elephant tusks, a three-eyed jewel, a unicorn horn, the three gems, crossed pair of measuring rulers, a pair of king’s earrings and a pair of queen’s earrings. The primary elements of the dancing skeletons (chitipat), showing the male holding a skull-tipped scepter and a skull bowl, while the female holds a stalk of grain and a vase. These figures are divided by flaming skull cups, one filled with the five sense offerings, the other filled with nectar and a dragon head at the rim. The projecting ruffled rim and row of skulls support four nagas with raised heads that encircle two bands of water and mountain motifs below a band of kirttimukha, and another with an ocean containing makaras, a man rowing a boat filled with jewels and Chinese style pavilion. The flared rim is supported by a waisted lotus and cloud forms around the broad mouth. 14 in. (35.7 cm.) . Estimate: US$50,000 – 80,000
 
Note: In discussion of Smashana Adipati, lords of the charnel grounds by Linrothe and Watt, Demonic and Devine: Himalayan Art and Beyond, New York, 2004, p. 128 “Smashana Adipati is one of the Sanskrit names for a dancing-skeleton couple who inhabit and preside over the (thus adipati, “lords”) cremations grounds (smashana), where Indian Tantric yoginswere encouraged to practice.”The actual function of this decorated vase is unclear beyond an offering, however the idea of the imagery being associated with their benevolent aspect of protecting wealth is also suggested. Furthermore in their discussion of the connection of Chitipati to the Sakya lineage (ibid, p. 126)”..both figures (Chitipati) consistently hold identical objects in their left and right hands: a skull-or skeleton-tipped scepter and a skull bowl containing swirling blood, respectively. By contrast, the Gelugpa images….usually give the female a stalk of grain and a vase signifying the bestowal of wealth.”The quality of the detailed decoration and powerful imagery place this vase at the peak of metalwork production in Tibet during the 18th century. However, the Qing Emperors were known to be strict followers of the Gelugpa order of Tibetan Buddhism and they constructed many temples in Chende, the summer retreat for the Qing court, and commissioned many sculptures and ritual items for ceremonies. The embossed silver inset panels on a ritual conch in Rehol, Chenge (see Chen Qingying, Buddhist Art from Rehol, 1999, no. 65, p. 153) are very closely related in the treatment of the animal figures and auspicious symbols. Also compare with a silver and gilt copper mandala of Vasudhara in the Art Institute of Chicago, (see Pal, Tibet: Tradition and Change, Albuquerque, 1997, pl. 77, p. 154). Furthermore, the presence of a Chinese style pagoda in a prominent position on the upper band of the neck, and the treatment of the animal forms are closely aligned with Chinese norms. These stylistic element together with the Gelupa style of imagery, make it possible that this vase was commissioned by a patron connected to imperial workshops.Provenance: Spink & Son, Ltd., London, 1998
Private European Collection
Christie’s, New York, March 25, 2004, lot 82Exhibited: London, Spink & Son, Ltd., Body, Speech, and Mind, cat. no. 40, December 1998.
Madrid, Fundación “La Caixa”, Monasterios y lamas del Tibet, cat. no. 34, November 2000-January 2001.Published: Exhibition catalogue, Body, Speech and Mind, London, Spink & Son, Ltd., 1998, p. 76 cat. no. 40.
Ramon Prats, et. al., Monasterios y lamas del Tibet, Madrid, Fundación “La Caixa”, 2000, p. 109, cat. no. 34.
 
Beyond the highlighted collection of furniture and ritual silver objects, there are numerous other rarities to be discovered within this collection. The auction will take place Mar. 13, 2011 at 10 a.m., EST at Bonhams’ New York headquarters.Fine Japanese Works of Art
Following The Sartin Collection of Asian Art auction in the morning is the afternoon sale of Fine Japanese Works of Art. This season’s sale boasts lots that will appeal to a variety of markets and collectors.Jeff Olson, Bonhams Director of Japanese Art, states, “Bonhams Japanese department is pleased to offer a wide variety of objects, paintings and prints in conjunction with the week of Asian art sales held in New York this September. We feel confident that there will something of interest to collectors in all categories of Japanese art.” This auction contains several important armor lots; one in particular being the highly important Haruta-school tosei gusoku armor (est. $60,000-70,000). This high-quality armor, with completely matched elements – even the original green and orange lacing, is historically attributed to Okudaira Nobumasa. Nobumasa is considered a fulcrum in Japanese history because of his role in a key battle that changed the course of Japanese history. Inside the storage box, in which the armor is contained, is an inscription written by San Ko Shoeki, the founder of the Kyushoin temple in Kyoto where the armor is thought to be located. In the closing of his inscription, he states, “When I look at this armor I feel as if Lord Okudaira’s spirit is here with me, and I remember him and feel like he is here before me. This is surely a very important treasure of this temple.”
 
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A highly important Haruta-school tosei gusoku. Late 16th century. Photo: Bonhams
 
The armor of completely matched elements with original green and orange lacing intact and comprising: a thirty-two plate akoda nari kabuto lacquered black and mounted with silvered-copper fukurin and igaki pierced at the base with inoshishime, the top of the bowl adorned with a four-stage chrysanthemum-form tehen kanamono carved with vines, the five-lame Hineno-style shikoro ending in small fukigaeshi, the mabizashi finished with a “rope” edge, a gilt-bronze tsuki to hoshi maedate; the iron reisei men lacquered black and applied with a boar’s bristle mustache and chin tuft, the lips lacquered red and the teeth silvered, fitted with a four-lame yodarekake; the cuirass a ni-mai maru do of iron scales laced in kebiki and fitted with seven sections of four-lame kusazuri, the front of the cuirass applied with a small gilt-copper gumbai and hexagonal medallions containing plum florets, the heraldic crests of the Okudaira clan; tosei sode; oda gote; shino suneate; kawara haidate; one wood storage box; no armor stand. Estimate: US$60,000 – 70,000
奥平信昌 当世具足 16世紀後期Provenance: Okudaira Nobumasa (1555–1615)
Kyushoin Temple, Kyoto, the Okudaira family templePublished: Nakamura Tatsuo, Ken to yoroi to rekishi(Kyoto: Kennin Shoku, 1999)Nakamura Tatsuo, Nakamura Koutoushushikan: Kitaku zoushin zuroku(Kyoto: Kennin Shoku, 1999)Note: This armor is historically attributed to Okudaira Nobumasa. The historical attribution is supported by an inscription (hako gaki) on the inside of the box written by San Ko Shoeki, the founder of the Kyushoin temple in Kyoto where the armor is thought to have been located until modern times. Kyushoin has a long association with the Okudaira clan. The inscription in the box is believed to be authentic as it is written in old Japanese script (kanbun) and uses nuances and phrases relevant to the era in question.The armor is typical of a high-quality armor produced by the Haruta group during the Warring States period (sengoku jidai)in Japan (1467-1610) during the lifespan of Okudaira Nobumasa. The helmet shows alterations on the inside that are typical of alterations done to armors that were made during the second half of the 1500s and updated before the battle of Sekigahara. The fukurin or metal piping on the helmet is plated with silver rather than with gold, which was much more typical. The fabric of the leg protectors is black velvet, which is known to have been imported by Portuguese traders and employed for use in very high-quality armors made by the Haruta group during the late-16th and early-17th centuries. The front of cuirass is decorated with small badges (kanamon), a decorative motif that became popular among Samurai who had served in the Korean campaigns under Toyotomi Hideyoshi (1537-1598) in the early 1590s. After the Battle of Sekigahara (21st day of the 9th month of 1600), the custom fell out of fashion and virtually all of these kanamonowere removed. It is rare to find an armor with these articles still intact. In its current state, this armor appears as it did in 1600 when it was last worn into the Battle of Sekigahara (21st day of the 9th month of 1600).Okudaira Nobumasa (born Sadamasa) is considered a fulcrum in Japanese history since his role at a key battle changed the course of Japanese history. His birth name was Sadamasa and he was originally a retainer of the Tokugawa clan but was forced into service with Takeda Shingen (1521–1573). Upon Takeda Shingen’s death, Sadamasa left the service of the Takeda clan and rejoined Tokugawa Ieyasu (1543-1616). His action enraged Shingen’s son, Takeda Katsuyori (1546–1582), who had Okudaira’s wife, children and brother crucified for the action. Then, in 1575, Katsuyori besieged Okudaira at Nagashino Castle, which guarded the gateway to Mikawa, Ieyasu’s hometown. Okudaira, with a force of 500, made a stubborn defense against the Takeda force of 15,000. Fueled by the fire of retribution for the execution of his family, Okudaira was able to hold out long enough for the Oda and Tokugawa forces to rally. Because the siege wore the Takeda forces down and allowed the allies to organize and set up their defenses, the Takeda lost the battle. This was a major turning point which ultimately lead to the end of the Warring States period. Without the efforts and loyalty of Okudaira, the Warring States period may have continued much longer.

For his service at the siege of Nagashino Castle, Okudaira was given permission from Oda Nobunaga (1534–1582) to use the first character of his name “Nobu” and change his name from Sadamasa to Nobumasa. Tokugawa Ieyasu awarded him Nagashino Castle and married his eldest daughter, Kamehime, to him. He was later awarded the territory of Miyasaki, which had an income of 30,000 koku. For his service at the Battle of Sekigahara on the side of the Tokugawa, Okudaira was appointed the first Kyoto Shoshidai or special attaché of the Shogun to the Emperor under the Tokugawa government. Later he was rewarded with the Kano domain in Mino province, which was a 100,000 koku income territory. He died in 1615 at the age of 59.

 
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Inside the box is a separate piece of paper that reads “Written by Master Sanko.” This was likely written by a monk of the temple who was a follower of Sanko Shoeki, the founder of the temple.The inscription on the inside of the box may be translated as follows:Explanation of this armor in the Kyushoin temple (of the Kenninji Temple complex) owned by Okudaira Nobumasa.This armor previously belonged to Lord Okudaira descendant of Taira Nobumasa of Sakushu, and trusted and loyal retainer to the Shogun (Tokugawa Ieyasu). I was his close friend.He played the most important role and rendered distinctive service at Nagashino when he showed great bravery in the face of the enemy and did not retreat even when outnumbered 1000 to 1 and was bestowed rewards for his actions.He was not just a strong warrior but an accomplished intellectual and educated gentlemen who was multi-talented and was accomplished in the ways of poetry, manner, calligraphy, tea ceremony, etc.Not only did he accomplish many great things, but he was proper and respectful and made sacrifices for the good of the country, and was a great man.

When I look at this armor I feel as if Lord Okudaira’s spirit is here with me and I remember him and feel like he is here before me.

This is surely a very important treasure of this temple.

June 14th in the 16th year of the Kanei Era (1637)
23 years after the death of Lord Nobumasa

I (the old) Sanko Shoeki reflect on my memories and write this account.

Signed with kao.

 
Also in the sale is a breadth of work by 20th century Japanese painter, woodblock print maker and world traveler Yoshida Hiroshi. Bonhams is privileged to continue these offerings from the Collection of Yoshida Chizuko, his daughter-in-law, after two successful sales in 2006 and 2008. Highlights from the 67 lots offered during this sale include several non-Japanese subjects done in traditional Japanese woodblock style. During his 1924 tour of North America, he was inspired greatly by several landscapes, including an oil on canvas titled Niagara Falls (1924) (est. $4,000-6,000) ; Lake Louise (1924) (est. $4,000-6,000); Grand Canyon (1924) (est. $8,000-12,000); and Southwest Landscape (1924) (est.$4,000-6,000). Several subjects he revisited a year later, to complete woodblock prints, such as the 1925 woodcut entitled Yosemitto-koku erukyapitan (El Capitan in Yosemite Valley) (est. $8,000-12,000). To name a few of the other series of his work covered in this sale are “Europe,” “Ten Views of Fuji” and “India and Southwest Asia.”
 
Another highlight is a hanging scroll titled “Beauty and Emma-O” by Kawanabe Kyosai, who is known for his lively compositions and virtuoso draftsmanship. As represented in this painting and several of his other works, is the King of Hell ready to hand out punishment to sinners. In this particular work, the King of Hell holds up a mirror where he sees the reflection of a disheveled courtesan waiting for punishment (est. $6,000-8,000).
 
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Kawanabe Kyosai (1831-1889). Beauty and Emma-O. Photo: Bonhams
 
Hanging scroll, ink and colors on silk; a King of Hell holds up a mirror, looking gleefully down at the courtesan and attendant reflected on it; signed Seisei Kyosai ga and sealed Ichiji sen shi. With wood box inscribed Kyosai sensei jigoku dayu no zu and with lot tag 48. 48 1/2 x 19 1/2in (123.2 x 49.5cm). Estimate: US$6,000 – 8,000
 
Provenance: Baron Honda, sold Kanazawa Bijutsu Club, 1936Published: Tokyo Honda Danshaku ke Hayashi ke/Zohin nyusatsu mokuroku (Baron Honda Family and Hayashi Family/catalogue of collection), Showa 11 (1937), Kanazawa Bijutsu Kurabu.Note: Kyosai is known for his lively compositions and virtuoso draftsmanship. His life straddled both the Edo and Meiji periods and was also popular as a caricaturist despite his multiple arrests by the shogunate and the new government. He made several paintings based on similar subject matter – the King of Hell ready to hand out punishments to sinners. The large figure in the background is the King of Hell, symbolized by the character “O” (king) in his crown. The sinner awaiting punishment is shown reflected in his mirror, revealing the wrong-doings that led the deceased to his realm. In this painting expression on the face of the woman is somber, and her hair disheveled, yet she is dressed in beautifully decorated robes. The obi tied in the front indicates she had been a courtesan in her lifetime. Perhaps the apsaraor heavenly deity shown on her obi is a symbol of repentance as she is about to face her fate.The title on the box and the catalogue entry for the Bijutsu Club sale identifies this painting as Jigoku daiyu (Hell Courtesan), a subject for which Kyosai was well known.
 

Major International Loan Exhibition Featuring Greatest Artists in History of Indian Painting Goes on View at Metropolitan Museum

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Payag (Painter), Mir ‘Ali (Calligrapher). Shah Jahan riding a stallion: page from the Kevorkian Album. Mughal court atAgra, ca. 1628. Opaque watercolor and gold on paper. Painting: 11 1/8 x 8 3/16 in. (28.2 x 20.8 cm). Page: 15 5/16 x 10 1/8 in. (38.9 x 25.7 cm). The MetropolitanMuseum of Art,New York. Purchase,RogersFund and The Kevorkian Foundation Gift, 1955 (55.121.10.21b)

Indian paintings have traditionally been classified according to regional styles or dynastic periods, with an emphasis on subject matter and narrative content. Recent scholarship, however, has begun to securely link innovations in style with specific artists and their lineages. Together with a careful study of artist’s inscriptions and scribal colophons, it is now possible to construct a more precise chronology of the development of Indian painting.

Beginning September 28, The Metropolitan Museum of Art will present “Wonder of the Age”: Master Painters of India, 1100-1900, a major loan exhibition devoted to the connoisseurship of Indian painting, with some 200 works selected according to identifiable hands and named artists. The exhibition dispels the notion of anonymity in Indian art. The high points of artistic innovation in the history of Indian painting will be demonstrated through works by more than 40 of the greatest Indian painters, some of whom are identified for the first time. Each artist will be represented in the exhibition by five to six seminal works.

The exhibition is made possible by MetLife Foundation. Additional support is provided by Novartis Corporation.

It was organized by the Museum Rietberg Zurich in collaboration with The Metropolitan Museum of Art, New York.

Structured chronologically, the exhibition will feature the artistic achievement of individual artists in each period. Highlights include: A Sufi Sage by Farrukh Beg, after a European engraving of the personification of melancholia, Dolor, an extraordinary painting representing the last chapter of the artist’s long career (1615, Museum of Islamic Art, Doha); Peafowl attributed to Mansur, a master of observation of the natural world (ca. 1610, private collection); Jahangir receives Prince Khurram at Ajmer on his return from the Mewar campaign: page from the Windsor Padshahnama by Balchand, a master of composition (ca. 1635, Royal Collection, Royal Library, Windsor); Shiva and Parvati playing chaupad by Pahari, a superb painting with intense saturated color, bold but sparse composition, and stylized landscape, depicting the divine couple relaxing on a tiger skin playing chaupad, a form of chess (1694-95, Metropolitan Museum); and Emperor Muhammad Shah with falcon viewing his garden at sunset from a palanquinattributed to Chitarman II, depicting the emperor enjoying his garden at sunset (ca. 1730, Boston Museum of Fine Arts).

The exhibition will be accompanied by an illustrated catalogue.

Major collections in India, Europe, and the United States have lent works to the exhibition, including: HM The Queen’s Collection Windsor Castle, National Museum of India and the Udaipur City Palace Museum in Rajasthan, the Aga Khan Trust Geneva, the Bodleian Library and the Ashmolean Museum in Oxford, and the Museum Rietberg in Zurich.

“Wonder of the Age”: Master Painters of India, 1100 – 1900has been produced under the direction of three eminent scholars—Dr. Eberhard Fischer, former director of the Museum Rietberg; Prof. Milo Beach, former director of the Freer & Sackler Galleries in Washington, D.C.; and Prof. B. N. Goswamy, Professor Emeritus of Art History at the Panjab University, Chandigarh. Dr. Jorrit Britschgi of the Museum Rietberg is the organizing curator in collaboration with John Guy, the Florence and Herbert Irving Curator of the Arts of South and Southeast Asia at The Metropolitan Museum of Art.

The exhibition was on view at the Museum Rietberg Zurich before traveling to New York.

A variety of education programs will accompany the exhibition, including gallery talks, films, and a Sunday at the Metprogram on October 2.

This exhibition in New York is organized by John Guy, Curator in the Department of the Asian Art. The exhibition design is by Daniel Kershaw, Exhibition Design Manager; graphics are by Sue Koch, Graphic Design Manager; and lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers, all of the Metropolitan Museum’s Design Department.

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Purkhu (Attributed). Maharaja Sansar Chand of Kangra admiring pictures with his courtiers. Pahari region of Himnachal Pradesh, ca. 1800 – 1815; Opaque watercolor on paper; Painting: 9 1/16 x 7 1/16 in. (23 x 18 cm); Page: 11 7/16 x 8 11/16 in. (29 x 22 cm). Museum Reitberg Zürich, Bequest of Balthasar Reinhart (2005.9)

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Master of the Jainesque Shahnama. Unknown workshop, possibly Malwa Siyavash faces Afrasiyab across the Jihun River: page from a Shahnama manuscript. India, ca. 1425–50. Opaque watercolor and ink on paper; Painting: 7 7/8 x 4 13/16 in. (20 x 12 cm). Page: 12 11/16 x 9 1/4 in. (32 x 23.5 cm). Museum Rietberg Zürich, Gift of Balthasar and Nanni Reinhart (RVI 964, f. 108v.) 

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Basawan, Shravana and Tara (Attributed). Asad ibn Kariba launches a night attack on the camp of Malik Iraj: folio from a Hamzanama series. Delhi-Fatephur Sikri, ca. 1570. Opaque watercolor, ink and gold on cotton cloth, mounted on paper, 27 x 21 1/4 in. (68.6 x 54 cm). The MetropolitanMuseum of Art,New York. Rogers Fund, 1918 (18.44.1)

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Basawan. The Sufi Abu’l Abbas rebukes the vain dervish: page from a Baharistan of Jami manuscript. Mughal court atLahore, dated 1595. Opaque watercolor and ink on paper. Painting: 7 11/16 x 4 15/16 in. (19.5 x 12.6 cm). Page: 11 13/16 x 7 11/16 in. (30 x 19.5 cm). The Bodleian Library, University ofOxford(Ms. Elliot 254, f. 9a)

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Basawan (Attributed). Woman worshipping the sun: page from a Jahangirnama manuscript. Mughal court atLahoreorDelhi, ca. 1590–95. Opaque watercolor and gold on paper. Painting: 9 1/16 x 4 1/2 in. (23 x 11.5 cm). Page: 16 3/4 x 10 1/2 in. (42 x 26.7 cm). Museum of Islamic Art,Doha(Ms. 157)

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‘Abd-al-Samad. Two fighting camels. Mughal court at Fatehpur Sikri orLahore, ca. 1590. Opaque watercolor and ink on paper, 7 3/8 x 8 1/16 in. (18.8 x 20.5 cm). Private Collection

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Manohar (Attributed), Akbar hunting in a qamargha, or the humiliation of Hamid Bhakari: page from an Akbarnama manuscript. Mughal court probably atLahore, dated by association 1597. Opaque watercolor, ink and gold on paper. Painting: 8 7/16 x 5 in. (21.4 x 12.7 cm). The MetropolitanMuseum of Art,New York. Theodore M. Davis Collection. Bequest of Theodore M. Davis, 1915 (30.95.174.8)

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Manohar or Basawan (Attributed), Mother and child with a white cat: folio from the Jahangir al’ Album. Mughal court at Delhi, ca. 1598. Opaque watercolor and gold on paper. Painting: 8 9/16 x 5 3/8 in. (21.7 x 13.7 cm). Page: 14 9/16 x 9 5/8 in. (37 x 24.4 cm). The San DiegoMuseumof Art, Edwin Binney 3rd Collection (1990.293)

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Farrukh Beg, Emperor Babur returning late to camp, drunk after a boating party in celebration of the end of Ramadan (‘id) in 1519: page from a Baburnama manuscript. Mughal court at Lahore, dated 1589. Opaque watercolor on paper. Painting: 9 5/16 x 5 3/8 in. (21 x 13 cm). Page: 16 1/8 x 10 5/8 in. (40.9 x 27 cm). Arthur M. Sackler Gallery, Smithsonian Institution, Purchase – Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program, and Arthur M. Sackler (S1986.231)

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Farrukh Beg, A Sufi sage, after the European personification of melancholia, Dolor. Mughal court atAgra, dated 1615. Opaque watercolor, ink and gold on paper. Painting: 7 5/8 x 5 9/16 in. (19.4 x 14.1 cm). Page: 15 1/16 x 10 1/16 in. (38.2 x 25.6 cm). Museum of Islamic Art,Doha

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Farrukh Beg, Self-portrait of Farrukh Beg: page from a muraqqa of Shah Jahan. Mughal court at Agra, ca. 1615. Opaque watercolor and ink on paper. Painting: 5 13/16 x 2 7/8 in. (14.7 x 7.3 cm). Page: 21 15/16 x 13 11/16 in. (55.7 x 34.8 cm). Eva and Konrad Seitz Collection

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Keshav Das, Akbar with falcon receiving Itimam Khan, while below a poor petitioner (self-portrait of the painter Keshav Das as an old man) is driven away by a royal guard: page from the Jahangir Album. Mughal court atLahore, dated 1589. Opaque watercolor and ink on paper. Painting: 8 1/2 x 5 7/8 in. (26.7 cm x 15 cm). Page: 21 1/8 x 15 1/2 in. (53.7 cm x 39.5 cm). Staatsbibliothek zu Berlin, Preussischer Kulturbesitz (Ms. 117, fol. 25 a)

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Keshav Das, Saint Jerome. Mughal court at Delhi, ca. 1580 – 85. Opaque watercolor on paper. Painting: 6 11/16 x 3 15/16 in. (17 x 10 cm). Page: 12 5/8 x 8 1/16 in. (32.1 x 20.5 cm). Musée des Arts Asiatiques—Guimet, Paris (MA 2476)

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Aqa Riza (Painter), Mir ‘Ali (Calligrapher), Fath Muhammad (Marginalia), A youth fallen from a tree: page from the Kevorkian Shah Jahan Album. Mughal court atAgra, ca. 1610. Opaque watercolor, ink and gold on paper. Painting: 8 9/16 x 5 3/8 in. (21.7 x 13.7 cm). Page: 14 9/16 x 9 5/8 in. (37 x 24.4 cm). The MetropolitanMuseum of Art,New York. Purchase,RogersFund and The Kevorkian Foundation Gift, 1955 (55.121.10.20v)

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Abu’l Hasan, Study of Saint John the Evangelist, adapted from Dürer’s Crucifixion engraving of 1511. Mughal court, probably atAllahabad, dated 1600 – 1601. Brush drawn ink on paper, 3 15/16 x 1 13/16 in. (10 x 4.6 cm). TheAshmoleanMuseum,Oxford. Gift of Gerald Reitlinger, 1978 (EA 1978.2597)

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Albrecht Dürer, German, 1471–1528, Crucifixion, from The Small Engraved Passion. German, dated 1511. Engraving. Page: 4 9/16 x 2 15/16 in. (11.6 x 7.4 cm). The MetropolitanMuseum of Art,New York. Fletcher Fund, 1919 (19.73.13)

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Abu’l Hasan, Celebrations at the accession of Jahangir: page from a Jahangirnama manuscript; St. Petersburg Album. Mughal court atAjmerorAgra, ca. 1615–18. Opaque watercolor and gold on paper. Image: 14 7/8 x 8 11/16 in. (37.8 x 22 cm). Russian Academy of Sciences, Institute of Oriental Studies,St. Petersburg(Ms. E-14, fol. 10)

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‘Abid, The death of Khan Jahan Lodi: page from the Windsor Padshahnama. Mughal court atAgra, 1633. Opaque watercolor and gold on paper. Painting: 12 1/2 x 7 7/8 in. (31.8 x 20 cm). The Royal Collection, Royal Library,WindsorCastle(Ms. 1367, fol. 94b)

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Mansur (Attributed), Great hornbill: page from the Kevorkian Shah Jahan Album. Mughal court atAjmer, ca. 1615. Opaque watercolor, gold and ink on paper. Page: 15 5/16 x 10 in. (38.9 x 25.4 cm). The Metropolitan Museum of Art, New York. Purchase,RogersFund and The Kevorkian Foundation Gift, 1955 (55.121.10.14v)

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Mansur, Chameleon. Mughal court at LahoreorAllahabad, ca. 1595–1600. Opaque watercolor and ink on paper. Painting: 4 5/16 x 5 3/8 in. (11 x 13.7 cm). The Royal Collection, Royal Library,WindsorCastle(RL 12081)

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Balchand, Jahangir receives Prince Khurram atAjmeron his return from the Mewar campaign: page from the Windsor Padshahnama. Mughal court atLahoreor Daulatabad, ca. 1635. Opaque watercolor and gold on paper. Painting: 11 15/16 x 7 15/16 in. (30.4 x 20.1 cm). Page: 22 15/16 x 14 7/16 in. (58.2 x 36.7 cm). Mounted: 32 x 24 in. (81.3 x 61 cm). The Royal Collection, Royal Library, Windsor (RCIN 1005025, fol. 43b)

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Balchand, A youth expires when his beloved approaches and speaks to him: incomplete page from a Gulistan of Sa’di manuscript. Mughal court atAgra, ca. 1610–15 (additions c. 1640, perhaps by Murad). Opaque watercolor on paper, mounted and lacquered. Painting: 7 3/8 x 5 in. The David Collection, Copenhagen (1/2009)

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Payag, Nasiri Khan directing the siege of the fort of Qandahar, May 1631: page from the Windsor Padshahnama. Mughal court atAgra, ca. 1633. Opaque watercolor, ink and gold on paper. Painting: 12 5/8 x 9 in. (32.1 x 22.9 cm). Page: 22 15/16 x 14 7/16 in. (58.2 x 36.7 cm). The Royal Collection, Royal Library,Windsor Castle (RCIN 1005025)

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Payag (Attributed). Prince Dara Shikoh hunting nilgais. Mughal court, probably at Lahore, ca. 1635. Opaque watercolor on paper. 6 3/16 x 8 11/16 in. (15.8 x 22.1 cm). Arthur M. Sackler Gallery, Smithsonian Institution, Purchase, Washington, D.C. (S1993.42a)

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Payag. Humayan seated in a landscape, admiring a turban ornament: page from the Late Shah Jahan Album. Mughal court at Delhi, ca. 1650. Opaque watercolor and gold on paper. Painting: 7 3/8 x 4 3/4 in. (18.7 x 12.1 cm).. Page: 17 1/2 x 13 in (44.5 x 33 cm). Arthur M. Sackler Gallery, Smithsonian. Institution, Purchase—Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program, and Dr. Arthur M. Sackler, Washington, D.C. (S86.0400)

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Masters of the Chunar, Ragamala (Shaykh Husayn, Shaykh Ali, Shaykh Hatim), Malkausik Raga: page from the Chunar Ragamala. Chunar, Uttar Pradesh, dated 1591. Opaque watercolor and gold on paper. 10 3/8 x 6 5/16 in. (26.3 x 16 cm). Private Collection, New York

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Nasiruddin, Varati Ragini: folio from the Chawand Ragamala series. Chawand, Mewar, Rajasthan, dated 1605. Opaque watercolor and ink on paper. Page: 8 1/16 x 7 1/2 in. (20.5 x 19 cm). Museum Rietberg Zürich, Gift of Martin and Sylvia Escher (RVI 1786)

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Hada Master (Attributed), Rao Jagat Singh of Kota at ease in a garden. Kota, Rajasthan, ca. 1660. Opaque watercolor on paper. Image: 10 5/8 x 6 15/16 in. (27 x 17.7 cm). Private Collection

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Early Master at the Court of Mandi (Attributed). The gopis pleading with Krishna to return their clothes: folio from a Bhagavata Purana series. Mandi, Himachal Pradesh, ca. 1635–50. Opaque watercolor on paper. Painting: 11 3/4 x 7 3/4 in. (29.8 x 19.7 cm). Page: 13 3/4 x 9 1/4 in. (34.9 x 23.5 cm). The Kronos Collections

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Ruknuddin, Vishnu with Lakshmi enthroned, on a roof terrace. Bikaner, Rajasthan, dated 1678. Opaque watercolor on paper. Painting: 7 5/8 x 10 3/16 in. (19.3 x 25.8 cm). Page: 10 7/16 x 12 5/16 in. (26.5 x 32.8 cm). Museum Rietberg Zürich, Bequest of Lucy Randolph (RVI 1854)

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Kripal of Nurpur (Attributed), Devi parades in triumph. Nurpur, Himachal Pradesh, ca. 1660–70. Opaque watercolor, gold and beetle-wing cases on paper, 7 5/16 x 10 11/16 in. (18.5 x 27.2 cm). Museum Rietberg Zürich, permanent loan, Collection of Barbara and Eberhard Fischer, on loan to the Museum Rietberg Zürich 

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Devidasa of Nurpur, Shiva and Parvati playing chaupar: folio from a Rasamanjari series. Basohli, Jammu, dated 1694–95. Opaque watercolor, ink, silver, and gold on paper. Painting: 6 1/2 x 10 7/8 in. (16.5 x 27.6 cm). Page: 8 x 12 1/4 in. (20.3 x 31.1 cm). The Metropolitan Museum of Art, New York. Gift of Dr. J. C. Burnett, 1957 (57.185.2)

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Devidasa of Nurpur, Shiva and Parvati as Ardhanishvara: folio from the Rasamanjari II series. Nurpur/Basohli, Himachal Pradesh/Jammu, dated 1694–95. Opaque watercolor and gold on paper, 6 3/4 x 11 3/16 in. (17.1 x 28.4 cm). The San Diego Museum of Art, Edwin Binney 3rd Collection (1990.1043).

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Bahu Masters. King Dasaratha and his retinue proceed to Rama’s wedding: folio from the Shangri II Ramayana series. Bahu, Jammu, ca. 1690–1710. Opaque watercolor and ink on paper. Painting: 7 3/4 x 11 5/8 in. (19.7 x 29.5 cm). Page: 8 3/4 x 12 1/2 in. (22.2 x 31.8 cm). The Metropolitan Museum of Art, New York. Purchase, The Dillon Fund, Evelyn Kranes Kossak, and Anonymous Gifts, 1994. (1994.310)

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 Bahu Masters. Vasishtha visits Rama: folio from the Shangri I Ramayana series. Bahu, Jammu, 1680–90. Opaque watercolor, ink and gold on paper. Page: 8 1/2 x 12 1/2 in. (21.6 x 31.8 cm). Private Collection

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 Bahu Masters. Raga Madhava: folio from a Ragamala series. Bahu, Jammu, ca. 1720. Opaque watercolor and ink on paper. Painting: 6 5/16 x 5 29/32 in. (16 x 15 cm). Page: 7 29/32 x 7 5/16 in. (20 x 18.5 cm). Museum Rietberg Zürich, Collection of Alice Boner (RVI 1226)

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 Master at the Court of Mankot. Celebrations of Krishna’s birth: page from a Bhagavata Purana series.  Mankot, Jammu, ca. 1700–25. Opaque watercolor and ink on paper. Image: 9 x 6 in. (22.9 x 15.2 cm). Page: 11 3/4 x 8 3/8 in. (29.8 x 22.2 cm). The Cleveland Museum of Art, Edward L. Whittemore Fund (1988.70)

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 Stipple Master (Attributed), Maharana Amar Singh II riding a Jodhpur horse. Udaipur, Rajasthan, ca. 1700–1710. paque watercolor and ink on paper. ainting: 13 3/16 x 10 3/4 in. (33.5 x 27.3 cm). Page: 14 11/16 x 12 1/8 in. (37.3 x 30.8 cm). The Metropolitan Museum of Art, New York Cynthia Hazen Polsky and Leon B. Polsky Fund, 2002 (2002.177) 

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Kota Master A (Attributed), Ram Singh I of Kota hunting rhinoceros. Kota, Rajasthan, ca. 1700. Opaque watercolor on paper. Page: 12 5/8 x 18 3/4 in. (32.1 x 47.6 cm). Private Collection 

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 Kota Master A (Attributed), Ram Singh I of Kota hunting at Makundgarh. Kota, Rajasthan, ca. 1690. Opaque watercolor and ink on paper. Page: 13 5/32 x 10 19/32 in. (33.5 x 26.8 cm). Private Collection 

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 Kota Master C (Attributed), Emperor Farrukhsiyar being paraded in a palanquin. Kota, Rajastha,. ca. 1713. Opaque watercolor on paper. Page: 14 3/16 x 9 3/16 in. (36 x 23.3 cm). Gursharan S. and Elvira Sidhu 

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 Chitarman II (Attributed), Emperor Muhammad Shah with falcon viewing his garden at sunset from a palanquin. Mughal court at Delhi, ca. 1730. Opaque watercolor and gold on paper, 15 1/16 x 16 3/4 in. (38.3 x 42.5 cm). Museum of Fine Arts, Boston, Arthur Mason Knapp Fund (26.283) 

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 Mir Kalan Khan (Attributed), Baz Bahadur and Rupmati hawking. Mughal, Delhi, ca. 1735. Opaque watercolor on paper, 8 3/16 x 10 1/2 in. (20.8 x 26.6 cm). Eva and Konrad Seitz Collection 

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 Manaku, South wind cools in the Himalayas: folio from a Gita Govinda series. Guler, Himachal Pradesh, dated 1730. Opaque watercolor on paper, 8 3/8 x 12 1/16 in. (21.2 x 30.7 cm). National Museum, New Delhi (51.207/9) 

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First generation after Manaku and Nainsukh, South wind cools in the Himalayas: folio from the second Guler Gita Govinda series. Guler, Himachal Pradesh, ca. 1730. paque watercolor on paper. Painting: 6 1/8 x 10 in. (15.6 x 25.4 cm). Page: 6 1/8 x 10 13/16 in. (17.8 x 27.4 cm). Museum Rietberg Zürich, Eva and Konrad Seitz Collection (A 6) 

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 Manaku, Krishna playing blindman’s bluff. Guler, Himachal Pradesh, ca. 1750–1755. Opaque watercolor, ink and gold on paper9 5/8 x 6 3/4 in. (24.5 x 17.2 cm). The Kronos Collections 

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Nainsukh (Attributed), Raja Balwant Singh of Jasrota worships Krishna and Radha. Jasrota, Himachal Pradesh ca. 1745 – 1750. Opaque watercolor, ink, silver and gold on paper, 7 3/4 x 6 1/8 in. (19.7 x 15.6 cm). The Metropolitan Museum of Art, New York. Rogers Fund, 1994 (1994.377) 

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 Nainsukh (Attributed), Raja Balwant Singh of Jasrota viewing a painting presented by the artist Nainsukh. Guler, Himachal Pradesh, ca. 1745 – 1750. Opaque watercolor and gold on paper, 8 1/4 x 11 13/16 in. (21 x 30 cm). Museum Rietberg Zürich, Gift of Balthasar and Nanni Reinhart (RVI 1551) 

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 First generation after Manaku and Nainsukh, Krishna and Radha enjoy a winter’s evening on the roof terrace, in the month of Margashirsha (November-December): folio from a Baramasa series. Guler, Himachal Pradesh ca. 1780. Opaque watercolor, gold and silver-colored paint on paper, 11 1/16 x 8 1/8 in. (28.1 x 20.6 cm). Philadelphia Museum of Art, Alvin O. Bellak Collection, 2004 (2004-149-76) 

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 First generation after Manaku and Nainsukh, The Village beauty: folio from the Guler Bihari Satsai series. Guler, Himachal Pradesh, ca. 1785. Opaque watercolor, ink and gold on paper, 7 1/2 x 5 1/8 in. (19 x 13 cm). The Kronos Collections 

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 First generation after Manaku and Nainsukh. Krishna with Radha in a forest glade: folio from the second Guler Gita Govinda series. Guler, Himachal Pradesh, ca. 1775. Opaque watercolor on paper. Painting: 6 9/16 x 10 1/16 in. (16.6 x 25.6 cm). Page: 6 7/8 x 10 13/16 in. (17.5 x 27.5 cm). Collection of Barbara and Eberhard Fischer, on permanent loan to the Museum Rietberg Zürich (REF 35)

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 Purkhu (Attributed). Krishna flirting with the gopis, to Radha’s sorrow: folio from a Gita Govinda series. Kangra, Himachal Pradesh, ca. 1760. Opaque watercolor and gold on paper. Painting: 9 7/16 x 12 5/8 in. (24 x 32 cm). Page: 11 x 14 5/16 in. (28 x 36.3 cm). Museum Rietberg Zürich, Bequest of Lucy Rudolph (RVI 1852)

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 Bagta (Attributed). Kunvar Anop Singh hawking. Devgarh, Mewar, Rajasthan, ca. 1777. Opaque watercolor on paper. Painting: 14 3/16 x 10 7/16 in. (36 x 26.5 cm). Page: 16 1/8 x 11 5/8 in. (41 x 29.5 cm). Museum Rietberg Zürich, Gift of Carlo Fleischmann Foundation (RVI 2198)

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 Bagta. Rawat Gokul Das II at Singh Sagar Lake Palace, Devgarh, shooting fowl. Devgarh, Mewar, Rajasthan, dated 1806. Opaque watercolor with gold and silver on paper, 21 5/8 x 31 1/2 in. (55 x 80 cm). The Ashmolean Museum, Oxford, lent by Howard Hodgkin (LI.118.80)

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 Chokha (Attributed), Escapade at night: a nobleman climbs a rope to visit his lover. Udaipur, Mewar, Rajasthan, ca. 1800–1810. Opaque watercolor, ink and gold on paper. Painting: 11 1/2 x 14 7/8 in. (29.2 x 37.8 cm). Page: 12 1/4 x 16 1/8 in. (31 x 40.5 cm). The Metropolitan Museum of Art, New York. Purchase, Friends of Asian Art Gifts, 2006. (2006.451)

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 Master of the Company School. Four tribesmen. Delhi region, Haryana, ca. 1815–1816. Opaque watercolor on paper. Painting: 9 3/16 x 14 3/4 in. (23.3 x 37.4 cm). Page: 12 3/8 x 17 1/16 in. (31.4 x 43.4 cm). The David Collection, Copenhagen, (60/2007)

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 Tara. Maharana Sarup Singh and his courtiers on elephants celebrating the festival of Holi. Udaipur, Mewar, Rajasthan, 1850. Opaque watercolor on paper, 35 13/16 x 50 in. (91 x 127 cm). The City Palace Museum, Udaipur (2010.T.0011)

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 Tara. Maharana Sarup Singh inspects a prize stallion. Udaipur, Mewar, Rajasthan, 1845–1846. Opaque watercolor, ink and gold on paper. Painting: 16 3/4 x 22 3/4 in. (42.5 x 57.8 cm). Page: 19 x 24 7/8 in. (48.3 x 63.2 cm). The Metropolitan Museum of Art, New York. Cynthia Hazen Polsky and Leon B. Polsky Fund, 2001 (2001.344)

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Tara. Portrait of Sarup Singh with attendants, after William Carpenter. Udaipur, Mewar, Rajasthan, 1851. Opaque watercolor on paper, 13 15/16 x 19 7/8 in. (35.5 x 50.5 cm). The City Palace Museum, Udaipur (2010.T.0014)

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Shivalal, Maharana Fateh Singh’s hunting party crossing a river in a flood. Udaipur, Mewar, Rajasthan, dated 1893. Opaque watercolor on paper, 32 1/2 x 62 1/4 in. (82.5 x 158 cm). The City Palace Museum, Udaipur, Maharana of Mewar Charitable Foundation (2010.T.0006)

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Photographer unknown, overpainted by Shivalal. Portrait of Jaswant Singh II of Jodhpur (1873–1896). Jodhpur, Rajasthan, ca. 1875. Albumen print, hand colored, 10 1/4 x 8 15/16 in. (26 x 22.7 cm). The City Palace Museum, Udaipur (2008.06.0356

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The Painter [Chitaro] Tara. Photograph, 3 5/16 x 2 1/16 in. (8.4 x 5.3 cm). Pictorial Archives of the Maharanas of Mewar, The City Palace Museum, Udaipur

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Photographer unknown, Portrait of Mohanlal with his camera. Udaipure, Mewar, Rajasthan, ca. 1875. Albumen print, 3 7/8 x 2 5/16 in. (9.8 x 5.8 cm). The City Palace Museum, Udaipur (2008.01.0104