Sculpture & Paintings from Gandhara, Burma, Khmer,...

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Objects of Veneration Sculpture & Paintings from Gandhara, Burma, Khmer, Ceylon, India & Tibet

Transcript of Sculpture & Paintings from Gandhara, Burma, Khmer,...

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Objects of VenerationSc u lp ture & Paintings from Gandhara, Burma,

K hmer, Ceylon, India & Tibet

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+(44) 207 839 8200 joost van den bergh

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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

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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

Copyright © 2015 joost van den bergh ltd

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be reproduced, stored in a retrieval system

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Joost van den Bergh Ltd