nineteenth century european paintings, drawings and sculpture
Sculpture & Paintings from Gandhara, Burma, Khmer,...
Transcript of Sculpture & Paintings from Gandhara, Burma, Khmer,...
Objects of VenerationSc u lp ture & Paintings from Gandhara, Burma,
K hmer, Ceylon, India & Tibet
+(44) 207 839 8200 joost van den bergh
Objects of Veneration Sculpture & Paintings from Gandhara, Burma, Khmer, Ceylon, India & Tibet
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01 White Marble Ganesh
The elephant-headed god Ganesha is one of
the best known and loved deities in the Hindu
pantheon of gods. As the son of Parvati and
Shiva, he is one of the most widely worshipped.
Whilst his image is found throughout India,
devotion to Ganesha is widely diffused and ex-
tends to Jains, Buddhists and beyond India. He
is revered as the Remover of Obstacles, provid-
er of good fortune, prosperity and success and
is also patron of arts and sciences and the deva
of intellect and wisdom. He is honoured at the
start of rituals and ceremonies and invoked as
Patron of Letters during writing sessions.
This marble Ganesh dates back to the Hindu
Shahi/post Gupta Period and comes from the
area of present day Afghanistan and Pakistan.
Between 4th – 7th centuries this region saw
successive occupations by the Central Asian
White Huns and other foreigners including the
Turki, Shahis and later by the Hindu Shahis.
During the post Gupta period from the 7th
-9th centuries there is evidence of the peaceful
coexistence of Hinduism and Buddhism under
Shahi rule which is reflected in the stylistic
attributes of the sculptures from this period.
Drawing inspiration from post Gandharan,
Gupta, and Kashmiri sculptural styles, Hindu
Shahi sculpture combines the monumental
presence of early Gandharan, with the soft
roundness of Gupta and some of the broad facial
features seen in Kashmiri sculpture.
Hindu Shahi/ Post Gupta Period
Pakistan/ Afghanistan (Punjab Hills)
mid ninth century
Height: 47.5 cm; 18 ½ inches
Provenance: private collection, USA
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02 Stucco head of Buddha Shakyamuni
This larger than life-size stucco head of Buddha originates
from the Gandhara region, the area that is present-day
Afghanistan-Pakistan. The sensitive modelling of this head is
distinguished by great attention to detail, this was achieved
by working in stucco, giving it a more expressive quality
compared to the formal, somewhat harder, images in stone.
The technique of stucco was an invention of the late
Hellenistic period in Alexandria, where gypsum was first
used as a cheaper substitute for marble. As trade relations
with the Roman West intensified in the early first century,
the technique spread from there to Iran and India. Heads
of statues were constructed on a rough core of lime plaster
mixed with straw and small stones, which was then covered
with an outer layer of finer stucco for the modelling of the
features and hair.
Pakistan, ancient region of Gandhara,
circa 4th century
Height: 52 cm; 20 ½ inches
Provenance: private collection, Japan
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03 Carved ivory figure representing Saint Sebastian
Sebastian, shown here flanked by a dog, was a Roman
centurion who was discovered to be a Christian and was
therefore sentenced to death by Emperor Diocletian. He was
bound to a stake and shot with arrows. He was left for dead,
although the arrows had not killed him so he was eventually
stoned to death. The delicate features and the fine carving
of this Saint Sebastian are typical of Christian ivories made
in Goa when it was under Portuguese rule. Goa was initially
conquered in 1510 by Alfonso de Albuquerque (c. 1453 - 1515)
during the reign of Manuel I of Portugal, and re-conquered in
1512. Although Portugal’s interest was mainly in trade and to
establish trade routes, the Christian settlers and missionaries
were keen also to convert the native populace to Christianity,
and from the 16th century onwards they built numerous
churches. Ivory was already a popular medium used by local
craftsmen to produce Buddhist and Hindu images, and these
same craftsmen were consequently commissioned to produce
Christian imagery. A number of these carvings were made for
export but the majority was intended for domestic use.
Indo-portuguese, Goa, 17th–18th century
Height: 20.5 cm, 8 inches
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04 Bronze king and queen
Si Lanka, circa 1920
Height of king: 17 cm, 6 ⅝ inches
Height of queen: 13 cm, 5 ⅛ inches
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05 A carved wood warrior
India, Tamil Nadu, 17th–18th Century.
Height: 81 cm, 31 ⅞ inches
Width: 23 cm, 9 inches
Provenance: Burton Stein Collection
Exhibited and published:
“Living Wood: Sculptural Traditions of
Southern India” Whitechapel Gallery,
1992, p.164
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06 Nicolas Dias Abayasinha Amarasekera
The attribution to Nicolas Dias Abayasinha Amarasekera is
based on a watercolour by Jan Brandes in the Rijksmuseum,
Amsterdam. This watercolour depicts the meeting in
November 1785 between the diplomatic representatives of
Kandy with the Dutch Governor Willem Jacob van de Graaff
(1737–1804). Also depicted in the watercolour is a group of
high-ranking VOC officials. Centrally placed in Brandes’s
watercolour is the Modlia or official interpreter to the VOC,
Nicolas Dias Abayasinha Amarasekera. A further watercolour
by Brandes, also in the Rijksmuseum, shows another portrait
of Nicolas Dias Abayasinha Amarasekera.
Ivory with traces of pigment and gilding
Kandy, Sri Lanka, 18th century
Height: 22 cm, 8 ¾ inches
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07 Sandstone torso of Vishnu
This 7th century carved sandstone torso of a deity
is identified as the Hindu god Vishnu, preserver of
the cosmos who assumes many forms, or avatars.
It originates from Phnom Da located in the Angkor
Borei district of southern Cambodia. Stylistically this
torso is comparable to sculpture produced prior to
the establishment of the Khmer capital at Angkor in
the early ninth century.
Phnom Da is located in the Angkor Borei district,
Takeo province, of southern Cambodia. The earliest
archaeological material from this site, dating from
about 400 BC, contains the first known Khmer
inscriptions as well as the earliest tradition of Khmer
sculpture. Today the hill of Phnom Da contains
an 11th Century temple, built on the site of a 6th
century temple from the Funan period, built by king
Rutravarman. The oldest stone sculptures, found
in cave temples, depict both Hindu and Buddhist
divinities were made of single blocks of fine-grained
sandstone and date to the sixth century.
Khmer, pre Angkor Phnom Da Mekong delta,
7th Century
Height: 44 cm, 17 ¼ inches
width: 25 cm, 9 ⅞ inches
Provenance: private collection, UK
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08 Ivory Madonna and child
For centuries Sri Lanka (Ceylon) was influenced by
the artistic and cultural traditions of South India.
Through trade with the Portuguese, ivory became
highly valued in Europe from the sixteenth century.
A Portuguese observer, Garcia da Orto, writing at
this time, stated that ivory was used for ‘...caskets,
combs and many other things’. Ivory was principally
imported from Africa. Ivory from Sri Lanka and
Sumatra was valued because it did not become
yellow, which Indian ivory tended to do.
Sri Lanka, circa 17th century.
Height: 20.5 cm, 8 ⅛ inches
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09 Ivory figure of the crucified Christ
In 1543 the Philippines became part of The Spanish
Empire as a colony, which lasted over 300 years.
The Spanish introduced Christianity to their colonies
and arte-facts for worship where commissioned
locally. Ivory carving was one of the techniques
introduced to the Philippines in order to produce
carvings of various Christian iconographies. Ivory
figures produced in the Philippines not only catered
to local use, but were also produced to export to
Latin America and Europe. Originally this ivory Christ
would probably have been adorned with a metal
loincloth and crown.
Hispano-Philippines 17th–18th century
Height: 20.5 cm, 8 ¹⁄₁₆ inches
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10 Bronze standing Buddha Shakyamuni
The rippling design of the Buddha’s robe gives the
impression of falling water and is a typical sculptural
innovation from the Kandyan period. It gives a sense
of motion to the otherwise static figure. The city of
Kandy is situated in the hills of the Kandy Valley in
Central Sri Lanka. In 1592 Kandy became the capital
city of the last remaining independent kingdom in
the island, while the coasts where dominated by the
Portuguese and the Dutch from 1505 to 1815.
It was during this period that Sri Lanka witnessed a
Buddhist revival under the reign of Kirti Sri Rajasimha
(1747-1782), resulting in an increase in demand for
images of the Buddha, made in both ivory and bronze.
Sri Lanka, Kandy period, 18th century
Height: 19 cm, 7 ½ inches
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11 Krishna Venugopala
An exceptionally large figure of Krishna Venugopala
made in zinc and gold inlay.
Krishna is a manifestation of the god Vishnu. As a
young herdsman in his native village of Vrindavan,
he played the flute to charm the shepherdesses, not
least Radha (‘the luminous’), his future favorite. In
this aspect of divine musician he is given the name
Venugopala. The love between Krishna and Radha is
celebrated extensively in literature, the most famous
and popular drama being the Gita Govinda (‘Song of
the Cowherd’) by the Sanskrit poet Jayadeva, written
c.1100. Krishna had a considerable number of other
lovers - according to the sage Naranda more than
sixteen thousand - which aroused Radha’s jealousy
on several occasions; however, she remained the
god’s favourite.
Zinc with gold inlay
Eastern Deccan, 18th century
Height: 32 cm, 12 ½ inches
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12 Lead votive figure of Buddha
under the Bodhi Tree
Traces of red lacquer and gilding.
Burma 18th–19th century
Height: 10.5 cm, 4 inches
13 Pair of carved sandalwood Yali
A yali is a leogrpyh, a fantastic composite rearing
lion or tiger with aspects of the dragon or gryphon.
It is also called a yalaka, meaning a horned, hybrid
lion. The yali falls into the class of creature generally
termed vyala (the adjective meaning wicked or
vicious) or shardula, which has can be interpreted as
both lion and lioness, or tiger. In Indian architectural
temple sculpture, these fabulous beasts are often
depicted dwarfing the figures of men who oppose
them in combat, or shown riding the yali as an
expression of man’s struggle over the elemental
forces of nature which the beast represents. The
yali also represents the uncontrolled passions
and appetites rampant in every man that must be
mastered, and is associated with Vishnu and the
goddess Kali.
India, South Deccan, circa 1900
Height 12 cm, 4 ⅝ inches
Width: 4 cm, 5 ½ inches
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14 Bronze Dancing Krishna
South India, 16th–17th century
Height: 7.5 cm, 3 inches
15 Bronze Dancing Krishna
South India, 17th century
Height: 6.5 cm, 2 ½ inches
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16 Lion-Headed Incarnation of God Vishnu
(Narasimha),
Sandalwood
India, Mysore circa 1900
Height: 11.5 cm, 4 ½ inches
Width: 9 cm, 3 ½ inches
17 Wood Durga
In Hinduism Durga, (‘the Inaccessible’) is the principal
form of the Goddess, also known as Devi and Shakti.
According to legend, Durga was created for the
slaying of the buffalo demon Mahisasura by Brahma,
Vishnu, Shiva, and the lesser gods, who were
otherwise powerless to overcome him. Embodying
their collective energy (shakti), she is both derivative
from the male divinities and the true source of their
inner power. She is also greater than any of them. She
is known as the divine spouse of Lord Shiva and is the
mother of Her two sons, Ganesha and Karttikeya,
and daughter Jyoti. Hindus believe that goddess
Durga protects her devotees from the evils of the
world and at the same time removes their miseries.
Nepal, 16th–17th century
Height: 24.5 cm, 9 ⅝ inches
Width: 11 cm, 4 ⅜ cm
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18 Devotional inlaid Cross
Jerusalem, considered a holy city by Jews, Christians
and Muslims has always attracted pilgrims and
scholars. After the discovery and excavations
of the Holy Christian sites it became an even
more important focus for Christian pilgrimage.
The Franciscans returned to the city in 1335, and
after this date numerous churches, monasteries
and associated hospices where built to care for,
and accommodate the Christian pilgrims. In the
17th century the Franciscan Friars began to take
commercial advantage of this influx by founding
workshops, using local Syrian craftsmen to make
mother of pearl inlaid models of the Sepulchre, the
tombs and objects in their traditional style, to sell
to the pilgrims as ‘souvenirs’ thereby boosting the
monastery’s revenues.
Olivewood, engraved mother of pearl
Jerusalem, 17th – 18th century
Height: 12 cm, 4 ¾ inches
Width: 8 cm, 3 ⅛ inches
19 Olive wood and Mother of Pearl devotional
Cross with a silver Christ
Indo Portuguese, 18th – 19th century
Height: 14 cm, 5 ½ inches
Width: 9 cm, 3 ½ inches
20 Silver filigree pendant cross
Indo Portuguese, 17th century
Height: 10.5 cm, 4 inches
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21 Monumental volcanic stone head of Buddha
This impressive, larger than life-size stone head
comes from a colossal, possibly standing figure of the
Buddha. This figure would have been enshrined in an
image house. Anuradhapura is considered sacred to
the Buddhist world and was one of the most stable
and durable centres of political power and urban
life in South Asia. Monasteries and well-preserved
ruins of the ancient Lanka civilization surround it.
Although obviously damaged and with a weathered
surface, the sheer size of this Buddha head ensures it
has lost none of his impact and strength. Stylistically,
the head can be compared to examples from Tamil
Nadu and Andhra Pradesh in South India, which were
of great influence to the art of Anuradhapura.
Sri Lanka, late Anuradhapura Period, or South India,
Tamil Nadu 9th - 10th century
Height: 43 cm, 17 inches
Width: 36 cm, 14 ⅛ inches
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22 Khmer Rice Cutter
This type of rice cutter is unique to Cambodia
and is a very fine example of an artfully designed
utilitarian tool.
The elegant two-part handle is connected by
a brass collar and rings for gripping.
Cambodia, 19th century
Height: 26 cm, 10 ¼ inches
Width: 59 cm, 23 ¼ inches
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23 Padmasambhava
Distemper on cloth
Tibet, 15th - 16th century
Height: 51 cm, 20 inches
Width: 28 cm, 11 inches
Provenance:
Private collection, Germany
24 Twelve Company school watercolours
A group of twelve small watercolours on paper with pencil and ink
depicting various architectural scenes. The works are executed
on a variety of different papers, some watermarked: J. Whatman,
J. Smith, with some of the watermarks dated 1820, 1822, 1824.
Company painting is a hybrid Indo-European style of painting
produced in India by Indian artists, many of whom worked for
European patrons in the 18th and 19th centuries. The style blends
traditional elements of Indian painting with the more Western
elements of perspective and volume. Architectural subjects were
popular and usually done in a detailed and frontal style more like
that of an architectural draftsman rather than the romanticized
style used by most European painters visiting India. English
paper was often used. These paintings were intended to be kept
in portfolios or albums. The subjects of the present group of
paintings are mostly of well-known buildings and include the Taj
Mahal, the Gateway to Emperor Akbar’s Tomb at Sikandra and
I’Timad Ud-Daula’s Tomb at Agra.
Provenance:
From the collection of Field Marshal Earl Kitchener of Khartoum
(1850-1916) and thence by descent.
India, Agra, circa 1820
Average paper size:
Height: 11.5 cm, 4 ½ inches
Width: 19 cm, 7 ½ inches
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25 Manuscript Folio
Distemper on paper
Western Tibet, 12th – 13th century
Height: 21 cm, 8 ¼ inches
Width: 63.5 cm, 25 inches
Provenance: private collection, Germany
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26 View of the Taj Mahal from the Yamuna River
Company School, circa 1825–1850
Gouache on paper
Height: 32.5 cm, 12 ¾ inches
Width: 48 cm, 19 inches
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27 Botanical study of Indian mulberry
(Morinda coreia)
Morinda coreia (formerly known as Morinda
tinctoria) is an evergreen shrub or small tree that can
grow from 5 to 10 meters tall and is usually found in
dry forests in India and Sri Lanka. The plant has been
extensively cultivated in India for the dye obtained
from the root bark, which is collected when the
plants reach three to four years of age. This dye is
sold under the trade name ‘Suranji’ and is used for
dyeing cotton, silk and wool in shades of red, yellow,
chocolate or purple. In Thailand it is also a popular
medicinal plant, as well as a local source of timber.
Gouache on paper
Company school, Calcutta. Late 18th century
Height: 45 cm, 17 ¾ inches,
Width: 36 cm, 14 ¼ inches
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28 Rustam slays the Dragon
Rustam is the epic hero of the epic Shahnameh in
Persian mythology. He is the son of Zal and Rudaba.
In the Shahnameh, Rustam and his predecessors
were natives of the Zabulistan region of Sistan
province (present day eastern Iran). Rustam’s
mother Rudaba was a princess of Kabul. To this day
Rustam is considered Iran’s greatest folk hero. He is a
negahban, a protector of Iran’s empire. Known for his
extraordinary strength and bravery, he loyally assists
weaker and less courageous kings against their
enemies, particularly the people of Turan to the east.
Pen and ink on buff paper
Safavid Iran, 17th century
height: 10.5 cm, 4 ⅛ inches
Width: 18 cm, 7 inches
Provenance:
Christie’s London, 1975
Objects of Veneration
Sculpture & Paintings from Gandhara, Burma,
Khmer, Ceylon, India & Tibet
Joost van den Berg Ltd,
91c Jermyn Street London sw1y 6jb
+44 207 839 8200
www.joostvandenbergh.com
Design: Anikst Design, London
Photography: Matt Pia, J. Knowles
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