 WALKING BUDDHA Current and Past Exhibitions
Catalogue no. 41.WALKING BUDDHA.LAOS, LUANG PRABANG AREA.SECOND HALF OF THE 19TH CENTURY.H. (INCLUDING BASE) 144.8 CMS, 57 INS.H. (BUDDHA ONLY) 108 CMS, 42 ½ INS.A gilded and black lacquered Buddha of slender form standing on an hourglass shaped base, the left hand raised in abhayamudra and the right pendant by his side, his face tranquil beneath a raised chignon ascending to a flame finial with lotus petals around its base.The fully in-the-round walking Buddha originated in Sukhothai, Central Thailand, in the 14th century, probably deriving from 12th century bas-reliefs at Pagan, Burma and in Sri Lanka. It is said to represent the Buddha Sakyamuni in the third week following his Enlightenment, when he walked back and forth planning his future, but another interpretation is that it represents his descent from the Tavatimsha Heaven, to which he had risen in order to preach to his mother. For a Sukothai prototype walking Buddha, see cat. no. 59 in H.W. Woodward, The Sacred Sculpture of Thailand: The Alexander B. Griswold Collection, Baltimore: Walters Art Gallery, 1997. For an example of a walking Buddha from Laos, see page 228 in S. Lopetcharat, Lao Buddha: The Image and Its History, Bangkok: Siam International Book Company, 2000.
|  UNGLAZED POTTERY EARTH SPIRIT Current and Past Exhibitions
Catalogue no. 12.UNGLAZED POTTERY EARTH SPIRITCHINATANG DYNASTY, 618 – 907H. 54 CMS, 21 INSA dynamic, unglazed pottery earth spirit, superbly carved in a rampant posture of defiance, with his right hand raised and his left grappling with a poisonous toad, the ferocious looking guardian beast sporting long flame like spikes all along its spine rising above a face with bulging eyes and curly beard, its muscular body and legs suppressing the movement of a supine boar at his feet, the whole group resting on a rock said to represent the Buddhist celestial mountain, Mount Sumeru, finely painted pigments to the chest and lower body in the form of large leafy white flowerheads remaining. Earth spirits were placed in pairs inside the entrance of a tomb acting as guardian beasts. Early, Sui dynasty examples were simply modelled but by the 8th century of the Tang dynasty, as is seen here, the expressions and accoutrements had become more exaggerated. For a closely related example see page 53, plate 42, J. Baker, Seeking Immortality, Santa Ana, California, 1996. See also number 152 in Selected Tang Tomb Figurines Excavated in Shaanxi Province, Beijing, 1958. Age verified by Oxford thermoluminescence test.
|  STANDING BUDDHA Current and Past Exhibitions
Catalogue no. 28.STANDING BUDDHA.LAOS, FROM THE VICINITY OF LUANG PRABANG.SECOND HALF OF THE 19TH CENTURY.H. (INCLUDING FINIAL) 95 CMS, 37 ½ INS A remarkable, carved and gilded wood figure of the Buddha, standing in double abhayamudra on a square pedestal, the face plump and benevolent beneath a raised chignon rising to a tall flame finial; the thin sanghati covering both shoulders and secured by a broad belt and a central fold between the legs.For more on Lao Buddhas, see catalogue nos. 4 to 8.
|  STANDING BUDDHA Current and Past Exhibitions
Catalogue no. 30.STANDING BUDDHA.LAOS, FROM THE VICINITY OF LUANG PRABANG.SECOND HALF OF THE 19TH CENTURY.H. (EXCLUDING MODERN PLINTH) 151 CMS, 59 ½ INS .A carved, gilded and lacquered wood figure of Buddha on a flat square pedestal with both hands raised in abhaymudra, his raised usnisha topped by a flame finial, the eyes half closed and the face serene, wearing an ankle length sanghati with an elaborate belt and central pleat, a lotus motif at his navel. For more information on this type, please refer to the entry for catalogue nos. 4 to 8. For a related example from Vientiane, please see page 244 in S. Lopetcharat, Lao Buddha: The Image and Its History, Bangkok: Siam International Book Company, 2000.Note: The painted base is modern.
|  SEATED BUDDHA Current and Past Exhibitions
Catalogue no. 15.SEATED BUDDHA.LAOS, PROBABLY FROM UDOMXAI PROVINCE, NORTH OF LUANG PRABANG.SECOND HALF OF THE 19TH CENTURY.H. (INCLUDING FINIAL). 57 CMS, 22 ½ INS. A highly unusual polychromed wood figure of the Buddha, seated in padmasana on a raised lotus pedestal, his hands resting in dhyanamudra, the face meditative and serene beneath a raised chignon formed of ridges arranged in lines, crowned by a flame usnisha; the facial details carefully delineated in black, red and flesh-coloured pigments, wearing a sanghati with simple pleats and a long, central sash falling to the waist.The careful manner in which this sculpture has been decorated, not unlike Sri Lankan Buddhas of the period, with multiple layers of paint, suggests that it might once have been a treasured image in a family shrine. Another image, offered as catalogue no. 45, was almost certainly created and decorated by the same hand. For a related example from Vientiane - albeit lacking its elaborate decoration - please see pages 243 (top left) in S. Lopetcharat, Lao Buddha: The Image and Its History, Bangkok: Siam International Book Company, 2000.
|  SEATED BUDDHA Current and Past Exhibitions
Catalogue no. 45.SEATED BUDDHA.LAOS, PROBABLY FROM UDOMXAI PROVINCE, NORTH OF LUANG PRABANG.SECOND HALF OF THE 19TH CENTURY.H. (INCLUDING FINIAL). 47 CMS, 18 ½ INS .A highly unusual polychromed wood figure of the Buddha, seated in dhyanamudra on a raised lotus pedestal, the face meditative and serene beneath a raised chignon rising to an eight-sided lotiform usnisha; the facial details carefully delineated in black, red and flesh-coloured pigments, wearing a sanghati with simple pleats and a long, central sash falling to the waist.The careful manner in which this sculpture has been decorated, not unlike Sri Lankan Buddhas of the period, with multiple layers of paint, suggests that it might once have been a treasured image in a family shrine. Another image, offered as catalogue no. 15, was almost certainly created and decorated by the same hand. For a related example from Vientiane - albeit lacking its elaborate decoration - please see pages 243 (top left) in S. Lopetcharat, Lao Buddha: The Image and Its History, Bangkok: Siam International Book Company, 2000.
|  SCHIST FIGURE OF THE BODHISATTVA PADMAPANI Current and Past Exhibitions
Catalogue no. 38.SCHIST FIGURE OF THE BODHISATTVA PADMAPANI.NORTHWEST PAKISTAN.GANDHARA.CIRCA 5TH CENTURY. H. 7.5 CMS, 3 INS.A finely detailed, polished brown schist figure of the Bodhisattva Padmapani, his left hand holding a long lotus-stem, wearing a bow-shaped diadem, a pleated ankle-length sanghati and elaborate jewellery.Whilst Gandharan Bodhisattva images are well known, the specifically identified Avalokitesvara did not emerge until around the 5th century, recognised by the lotus he holds and by the image of Amitabha Buddha in his headdress. Here, a princely diadem is worn, continuing the existing Gandharan tradition, indicating that this small image dates from the early development of Avalokitesvara’s iconography. Coming from a region associated with trade and travel, this piece would probably have been part of a portable shrine.For a larger figure of Padmapani from the Swat Valley with similar iconography, please see no. 7 in M. Ashraf Khan, Gandhara Sculptures in the Swat Museum. Saidu Sharif, 1993.
|  SANDSTONE HEAD OF A FEMALE DEITY Current and Past Exhibitions
Catalogue no. 36.SANDSTONE HEAD OF A FEMALE DEITY.NORTHERN PAKISTAN OR KASHMIR? POST-GANDHARA.CIRCA 6TH CENTURY.H. 15 CMS, 5 7/8 INS. A placid, smiling sandstone head of a female deity, with a full, rounded face and eyes wide open beneath deeply arched brows and a luxuriant, pleated diadem. In the period following the decline of Gandhara its artistic heritage survived, with adaptations, in the surrounding regions. As Hellenistic influence waned ornate headdresses, reflecting both late Sassanian and Chinese tastes, replaced the elaborate coiffures of Gandharan female images. At the same time, developments in Mahayana Buddhism introduced goddesses and female Bodhisattvas into the Buddhist realm.This delightful head, from a Scottish castle collection, is apparently from a stone frieze. The heavy looking diadem is filled with a hood formed of rich folds of cloth. The warmth of expression, along with the full cheeks and strongly defined eyebrows suggest Gupta influence whilst the finely detailed mouth and eyes recall 6th century terracottas found at Ushkur and Akhnur in southern Kashmir.
|  PAINTED SANDSTONE GARUDA Current and Past Exhibitions
Catalogue no. 51.PAINTED SANDSTONE GARUDA.INDIA, GUJURAT.16TH – 17TH CENTURY.H. (EXCLUDING BASE) 49.5 CMS, 19 ½ INS. A painted sandstone figure of Garuda, kneeling on top of a naga (snake deity) to await Vishnu’s bidding, his hands raised in the respectful gesture of namaskaramudra; the wooden base apparently cut from an old pillar.This image of Garuda may originally have been placed, along with other images, on the wall surrounding a shrine or temple dedicated to Vishnu. Over the centuries the half man, half bird vehicle of Vishnu has presented artists with both a problem and a source of inspiration. They have endeavoured to create a figure that combines the qualities of both, yet retains the ability to fly as he bears Vishnu on his back and wrestles with his profound enemy, the snake deities known as nagas. Here, the artist appears to have been influenced by European images of angels, brought to western India by the Portuguese in the 16th century. The figure is human in almost every respect with the simple addition of elegantly curved wings.
|  OFFERING VESSEL (HSUN OK) Current and Past Exhibitions
Catalogue no. 40.OFFERING VESSEL (HSUN OK).BURMA, PAGAN AREA.19TH CENTURY.H. 65 CMS, 25 ½ INS.A fine, gilded and lacquered Hsun Ok (offering vessel) with fitted upper and lower sections surmounted by a tiered finial; decorated with intricate bands of multi-coloured inlaid glass.Hsun Ok are placed on either side of a statue in a Buddhist temple, allowing devotees to place their offerings inside, thus accruing personal merit through their donation which in turn benefits the monastic establishment. Lacquered and gilded Hsun Ok, decorated in distinctive regional styles are found throughout Burma, but this general form, with a lid finial resembling a Buddhist stupa, is found throughout the country. This example is decorated with thayo, a mixture of lacquer and ash, which is rolled into a putty that can be used to create raised thread patterns. Following gilding, it was given an additional ornament of coloured glass spangles, arranged to resemble jewels, in typically Burmese taste and often seen trimming the robes of Buddha images. For similar examples see nos. 1 and 91 in R. Isaacs and T.R. Blurton, Visions from the Golden Land: Burma and the Art of Lacquer, London: British Museum, 2000.
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We are delighted to present the catalogue for this year’s exhibition, to be held at our gallery from the 2nd - 24th November 2006 as part of this year’s Asian Art in London events. It will include a large, varied and eclectic selection of mainly Buddhist sculpture and other works of art from Southeast Asia, India and China. We are offering more than fifty works of art, mainly sculptures, with our usual emphasis on the rare, the dramatic and the unusual. The highlights of this year’s offerings are a superb bronze head of Buddha Sakyamuni from Thailand’s early Ayutthaya period, an exquisite bronze bust, also of Buddha, from the same country’s late Sukhothai period, a remarkable group of wooden Buddhas of various types from 19th century Laos and a serene, smiling sandstone Buddha head from Pegu, Burma. We also have a pair of Nats (nature spirits) from Burma, a fabulous 18th century export coverlet and two Song dynasty terracotta boys from China, a Tang dynasty earth spirit and two, breathtakingly beautiful carved pillars from a Chettinad mansion in South India.