 REDDISH BROWN SANDSTONE BUDDHAPADA RELIEF Current and Past Exhibitions
Catalogue no. 21.REDDISH BROWN SANDSTONE BUDDHAPADA RELIEF. SOUTHERN INDIA.ANDHRA PRADESH.AMARAVATI SCHOOL.CIRCA 1ST CENTURY BC - 1ST CENTURY AD.H. 69 CMS, 27 INS.A reddish brown sandstone relief with a depiction of the Buddhapada (the Buddha’s footprints), decorated with a pair of wheels (chakras), swastikas and lotuses supporting triratna (‘three jewels’) motifs.Amaravati, near Guntur in Andhra Pradesh, was once the eastern capital of the Satavahanas, who ruled from the 2nd century B.C. to the 2nd century A.D. The great stupa at Amaravati was erected by Ashoka to house relics of the Buddha and is the most important in southern India. Most of its sculptures, unlike this example, are of marble. Along with the Bodhi tree, the stupa, the empty throne, the flaming pillar and the wheel, the footprints of Buddha Sakyamuni were an important symbol in early Buddhist art. Before images of the Buddha began to appear in human form during the 2nd century AD the Buddha was generally represented by these symbols. The footprints not only symbolize the presence of the Buddha they also carry a cosmic significance- the infant Buddha takes seven steps immediately after his birth to symbolize his spiritual domination of the universe. For two examples of Amaravati reliefs showing worship of the Buddha’s footprints see plate 61 in D. Klimburg-Salter, Buddha in Indien: Die frühindische Skulptur von König Asoka bis zur Guptazeit, Exhibition Catalogue, Milan and Vienna: Skira editore and Kunsthistorisches Museum, 1995 and plate 120 in M. Taddei, India, Geneva: Nagel Publishers, 1970. For an explanation of the symbols on Buddhapada reliefs see no. 67 in P. Pal et al. Light of Asia: Buddha Sakyamuni in Asian Art. Los Angeles: L.A. County Museum of Art, 1984.
|  Radiating Avalokitesvara Current and Past Exhibitions
Radiating Avalokitesvara KhmerAngkor period, Bayon style, Late 12th/ Early 13th centuryH. 110 cm, 43 ½ ins.A monumental sandstone figure of an eight-armed radiating Avalokitesvara, muscular and powerful, the hair, upper torso and arms covered in minute representations of the Buddha and with seated figures of Prajnaparamita (the Goddess of Transcendent Wisdom) on the chest, stomach and lower back; the face beatific beneath a raised chignon bearing a seated figure of Amitabha, wearing a short pleated sampot with a broad fishtail at the front.These images are believed to represent the Khmer ruler Jayavarman VII. There are celebrated examples of this type in both the Bangkok National Museum and the Musée Guimet, with only one other large version appearing in the art market in recent years [see M. Lerner, Ancient Khmer Sculpture, Chinese Porcelain Company exhibition catalogue, New York, 1994]. According to Lerner (ibid.), there are fewer than a dozen known examples of this type.
|  POLYCHROMED WOOD DVARAPALA Current and Past Exhibitions
25 POLYCHROMED WOOD DVARAPALA.SOUTH INDIA, TAMIL NADU OR ANDHRA PRADESH.LATE 18TH CENTURY – EARL 19TH CENTURY.H. 203 CMS, 80 INS.A monumental polychromed wood figure of a Dvarapala (temple guardian), dynamic and imposing, carved in low relief, with an intent, watchful gaze and small protruding fangs, wearing large round earrings, a necklace with a disc pendant, basubands and a tall tapering crown decorated with a leaf motif, trailing a long garland, the right hand raised with his index finger extended heavenwards, his right leg elevated at the knee and resting against a large club or mace; the surface covered with a layer of jute cloth and predominantly red polychrome decoration, the reverse with iron attachment loops. Because of the Indian subcontinent’s heat and humidity, there are almost no wooden sculptures surviving from before the 17th or 18th century. In Kerala, Tamil Nadu and other parts of southern India wood is used to make chariots (rathas) and other conveyances (vahanas) for carrying sacred images of the gods in festival processions. Wood is also used for architectural supports, wall panels and votive images within the temple itself. Dvarapalas are often placed as guardians at the entrance to the temple’s inner sanctuary and the figure offered here probably served this purpose. For a pair of related dvarapalas on a chariot from the Kapalishvara Temple, Mylapore, Madras see fig. 3 in George Michell (ed.), Living Wood: Sculptural Traditions of Southern India. Bombay: MARG Publications, 1992. Two consorts of Aiyanar in a large Tamil Nadu votive image have similar headdresses – see catalogue no. 61 (ibid.).
|  Pink sandstone figure of a recumbent Nandi Bull Current and Past Exhibitions
16. Rare and important pink sandstone figure of arecumbent Nandi Bull.Vietnam, Cham period, circa 9th century.L. 56 cms, 22 ins.Provenance: Private English Collection. Purchased from Spink and Son Ltd in 1996. Published as no. 51 in Spink catalogue, Legacies of Ancient Civilisations: A Selection of Indian and Southeast Asian Works of Art, 1996. Reference: Fig. 210 in E. Guillon, Cham Art: Treasures from the Da Nang Museum, Vietnam. Bangkok: River Books, 2001.
|  PAIR OF WOODEN PILLARS Current and Past Exhibitions
Catalogue no. 32.PAIR OF WOODEN PILLARS.INDIA, REPORTEDLY FROM ARIYAKUDI, TAMIL NADU.CHETTIAR, 1839.H. 221 CMS, 87 INS.GRANITE BASE. 38.7 x 38.7 x 29.2 CMS; 15 ¼ x 15 ¼ x 11 ½ INS.FINIAL CROSSWIDTH 129.5 CMS, 51 INS.A spectacularly beautiful pair of satinwood pillars resting on granite bases, each base comprising a square plinth with a gourd shape above into which the main, tapering and unadorned column slots; each surmounted by a capital, magnificently carved in cross section and echoing the form of the base, adorned with parrots seated on either side of covered urns, all placed amidst abundant foliage.These pillars, made from Ceylonese satinwood, are reportedly from a ruined Chettiar mansion in Ariyakudi, Tamil Nadu, just to the southwest of the principal Chettiar town of Karaikkudi. The house is said to have been built in 1839.The Chettiars are a merchant community, who migrated to Tamil Nadu, possibly from Assam, during the Chola period. Establishing themselves in the district between Tanjavur (Tanjore) and Madurai, the community regarded itself more as a clan than a caste. From the early 19th century, through the Colonial period, the Chettiars enjoyed great prosperity, which enabled them to build houses ornamented with fascinating woodcarvings whose subject matter reflects both their heritage and their distinct taste. Many Chettiars suffered a reduction in their circumstances during the Second World War and a large number of their mansions have fallen into disrepair or been demolished. Here, the column finials represent abundant forests associated more with Assam than with the rice growing coastlands of Tamil Nadu. Above the leaves, long tailed parrots guarding bulbous urns are symbols of joy, intellect and abundance. Beyond this auspicious influence on the house beneath, they may also have been some sort of identification symbol of the family who lived there. For other examples of similar pillars from Chettiar mansions, please see Page 99-101, 128-133 in S. Muthiah et al, The Chettiar Heritage, Chennai: Lokavani-Hallmark Press, 2002. There are four, less elaborate pillars in the Asian Civilisations Museum, Singapore.PLEASE NOTE THAT THE TOP SECTION IS INVERTED.
|  PAIR OF WOODEN FIGURES OF SAINTS Current and Past Exhibitions
Catalogue no. 17.PAIR OF WOODEN FIGURES OF SAINTS.PHILIPPINES.HISPANO-FILIPINO.CIRCA 18TH CENTURY.H. (LEFT FIGURE) 44 CMS, 17 3/8 INS. (RIGHT FIGURE) 35 CMS, 13 ¾ INS.An extremely rare pair of painted and carved wooden figures of saints (santos), the left depicting a bearded San Roque (St. Rock) wearing a long coat, cloak and hat, his left hand pulling up his robe to reveal a bleeding wound on his thigh; the right hand figure of an unidentified saint wearing a long coat, hat and boots.Santos, carved ivory or wood images of saints, were introduced into the Philippine archipelago during the 16th century by the Spanish soldiers and priests of the conquista. Figures of Christ, the Virgin Mary and a long litany of saints were made by local (including Chinese) craftsmen to grace church altars and domestic shrines. San Roque, St. Rock or Roch (d.1327) was a French pilgrim to Rome who, when plague erupted, healed the sick by miraculous means. He was stricken with an open sore on his left thigh and was sustained by a dog, who brought him bread each day, and by an angel. He is often depicted bearded, sometimes with a hat, wearing a knee-length tunic with a cape over his shoulders, boots and a staff. He is identified (as with this example) by the wound on his left thigh, to which he points - see page 101 in Regalado Trota José, Images of Faith: Religious Ivory Carvings from the Philippines, Pasadena: Pacific Asia Museum, 1990.PROVENANCE:Private English collection.
|  Pair of stucco heads Current and Past Exhibitions
Pair of stucco heads.China, probably from Shanxi province.Ming dynasty, 1368-1644 AD. H. 8 ins, 20cm.A striking pair of female stucco heads, their faces calm with eyes peering brightly from beneath arched brows; the hair painted blue and modelled into coils, with gilt headdresses elaborately rendered with curling tendrils and brightly painted shapes representing jewels.The mountainous, rugged terrain and dry climate of Shanxi province, with its numerous monasteries and temples, helped to preserve many such sculptures from damage by war and nature.
|  Pair of lacquer panels Current and Past Exhibitions, Current and Past Exhibitions
Pair of lacquer panels.Chinese.Kangxi period, 1662-1722.H. 26 ½ ins, 67.5 cm. W. 14 ins, 35.5 cm. A pair of black lacquered wooden panels, each brightly painted in polychrome and gilt enamels with a garden landscape of people seated in pavilions among lakes, bridges and mountains; each framed in its original gilded lacquer frame with brass fittings.Provenance: Collection of Derek Clifford.
|  Pair of Guardian Figures Current and Past Exhibitions
Pair of Guardian Figures.China, probably from Ningxia province.Western Xia (Xixia), Tangut Kingdom, circa 12th century.H. 13 ½ ins, 34cmAn exceptionally rare pair of red sandstone tomb guardians, each with bulging eyes and a humorous expression, crouching with lotuses balanced upon their heads. From the time of their establishment as an independent state in 982, until their subjugation by the Mongols around 1227, the Xixia (Western Xia or Tanguts) flourished as a commercial power. Their revenues were derived from taxes, levied upon merchants travelling along the section of the Silk Road within the great curve of the Yellow River- a large part of modern Gansu province. The Xixia were devout Buddhists, their artistic creations heavily influenced by Tibet. Examples of Tangut tomb guardians are scarce but a pair of similar figures- one male and one female- are illustrated in Shi Jinbo, Xi Xia Wen Wu, 1988 [ISBN no. 7-5010-0049-2].
|  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.
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