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Asian art

From India to Japan by way of China, Korea and the countries of south-east asia, asian art auctions provide a vast range of far eastern art.
Sculptures, paintings and objets d’art dating from the neolithic period to the present day can be found in online sales.
Particularly treasures from the middle kingdom. These include ceramics from china's tang and song dynasties, blue and white porcelain from the yuan, ming and qing dynasties, paintings from the tang dynasty, horses from the han and tang dynasties and a wealth of scholars' objects.
In asian art auctions, enthusiasts will also find buddhist gilt bronzes, japanese prints and lacquer objects, indian statuettes in bronze, korean ceramics and more.
Did you know? Boosted by the rapid emergence of major fortunes in china, asian art has been steadily on the rise since 2005, and the passion for things asian has galvanised the bidding from hong kong to paris.
For example, at the hôtel drouot in december 2016, a chinese imperial seal from the qianlong period (1736-1795), estimated at between €800,000 and €1 million, soared up to €21 boosted by the rapid emergence of major fortunes in million: a world record!

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IMPERIAL SEAL IN SPINY-GREEN JADE, China, Qing dynasty, Jiaqing period (1795 - 1820) Rectangular in cross-section, the top finely carved with a dragon holding a sacred pearl, the underside bearing four characters Ji Gu Guan Lan 汲古观澜 H.7 cm (2 ¾ in.) L.: 6.4 cm (2 ¼ in.) l.3.6 cm (1 in.) Provenance: French private collection since the late 19th century Then by descent into the same family An imperial spinach-green jade "Ji GuGuan Lan" seal, China, Qing dynasty, Jiaqing period (1795 - 1820) 清嘉庆 碧玉龙钮玺 印文:汲古观澜 Jiaqing was the fifth emperor of the Qing dynasty. During a period of his twenty-five-year reign (1795 - 1820), Jiaqing's father Qianlong, the fourth emperor, still held decision-making power, enabling Jiaqing to inherit a greater number of systems from the Qianlong era, notably in the artistic field, and in particular in the attention paid to porcelain work, jade, goldsmithing, embroidery and so on. Jiaqing's production and use of seals was similar to that of his father Qianlong, who commissioned a wide variety. According to court reports, there were many types of imperial seal under the Qing dynasty, covering a wide range of fields. They can be divided into several types: function, patronymic, reign title, palace seal, poem and so on. Although these seals have different characteristics, they share a common value, reflecting the emperor's thoughts and interests. The present seal has a rectangular shape, the top carved with a powerful dragon. It holds a puffed-up chest, head slightly raised, looking straight up, manes flying, scales finely chiselled and four heavily carved claws. The underside bearing four Ji Gu Guan Lan汲古观澜 characters, which translates as "Draw from the Ancients and contemplate the depths of things". The idea expressed is that studying antiquity and referring to the Ancients helps to understand the root cause of events and inspire political action. The expression Jigu汲古 can be traced back to an ancient-style pentasyllabic poem 五言 古诗 by Han Yu韩愈 (768 - 824 ) of the Tang dynasty, one line reads: 汲古 得脩绠 "To draw lessons from the Ancients, take a good rope". Guanlan观澜 from Mengzi孟子 (Book of Master Meng) XIII-24. Master Meng says: Master Kong climbed Mount East and found the principality of Lu insignificant; he climbed Mount Tai and found the world small. For those who have seen the ocean, rivers are hardly worth talking about; for those who have learned from a sage, common talk is not worth considering. There's a way to look at rivers: pay attention to the big waves they make. 孟子曰: " 孔子登东山而小 鲁,登泰山而小天下。故观于 海者难为水,游于圣人之门者 难为言。观水有术,必观其 澜。" The impression of the present Ji Gu Guan Lan 汲古观澜 seal appears in fascicule IX (Jiaqing II), p. 124 A, of the Qingdai dihou xiyinpu 清代帝后玺 印谱 (Great Seals of the Rulers and Empresses of the Qing Dynasty). Jiaqing is the fifth emperor of Qing dynasty. During his twenty-five-year reign (1795 - 1820), for a time, his father Qianlong, the fourth emperor, still held decision-making power, which allowed Jiaqing to inherit large systems of the Qianlong era, especially in the field of art, such as porcelain, jade, metal works, enamel, embroidery, etc. In the production and use of seals, Jiaqing, like his father Qianlong, ordered a wide variety. According to court records, there were many types of imperial seals in Qing Dynasty, covering a wide range of areas. They can be divided into dignity, surname, reign title, palace seals, poem etc. Although these seals have different characteristics, they share a common value which reflects the thoughts and interests of the emperor. The present seal has a rectangular shape, the top carved with a powerful dragon. The raised chest and head, looking straight, flying manes, fine scales and strongly carved claws. The bottom is inscribed with the four characters Ji Gu Guan Lan汲古观澜, which translates as "Draw from the Ancients and contemplate the depths of things", The idea expressed is that the study of Antiquity and the reference to the Ancients allows to understand the root cause of events and inspire political action. The expression Jigu汲古 dates back to an ancient style pentasyllabic poem 五言古诗 by Han Yu韩愈 (768 - 824) of Tang dynasty, a verse says: 汲古得脩绠 "To draw lessons from the Ancients, take a good rope". Guanlan

Estim. 100,000 - 150,000 EUR

LIN Fengmian (Lin Fongmin) (1900-1991) Beautiful lady, early 1950s Ink, gouache on Xuan paper. 66 x 66 cm Slightly cut at the top. Provenance: According to the owner, acquired directly from the artist in the 1950s. Exhibition: Chinese Artists in Paris, September 9 - December 31, 2011, Musée Cernuschi. Reproduced in catalog, p. 36. The painting depicts a stylized female figure seated in the center. Her features are simplified and her limbs elongated, rendered in shades of white and green. The background is divided into dark vertical sections. Signed and stamped upper left. This subject is recurrent in Lin Fengmian's work and considered by specialists to be a reminiscence of his mother, from whom he was separated at an early age in difficult circumstances. The type of paper used by Lin Fengmian during the war, when he couldn't paint on canvas, was called 宣紙 (xuān zhǐ), also known as xuan paper. It's a fine, absorbent paper made from mulberry fibers, traditionally used for Chinese calligraphy and painting. Xuanzhi is prized for its resistance to ink and its ability to capture the subtle nuances of brushstrokes. Its smooth, uniform surface was ideal for Lin Fengmian's style of painting, which emphasized fluid lines and soft colors. What's more, xuanzhi was relatively inexpensive and easy to find, making it a practical choice for Lin Fengmian during the wartime period of economic hardship. Lin Fengmian, a major Chinese artist of the 20th century, shaped his country's art history by fusing the influences of European modernity with traditional Chinese artistic heritage. Born into a family of poor artisans in 1900 in Guangdong province, he overcame financial obstacles through determination and unexpected good fortune, winning the lottery to study in France. In Paris, he trained at the École Nationale des Beaux-Arts after a spell at the Ecole des Beaux-Arts in Dijon, and discovered a vibrant Franco-Chinese artistic community. Back in China, he became a key figure in artistic reform, promoting modern art and fusing Chinese and Western techniques. As director of the National Art School in Beijing, he played a key role in promoting contemporary art. However, political upheaval and social instability forced him to leave Beijing in 1927, but he found refuge in Hangzhou, where he founded the National Academy of Arts. World War II and the Chinese Cultural Revolution marked tumultuous times for Lin Fengmian. Forced underground and forced to destroy his own works during the Cultural Revolution, he was imprisoned as an "enemy of the people". After his release, he lived in precarious conditions until his departure for Hong Kong in 1977. Despite his ordeal, Lin Fengmian continued to create and to commit himself to preserving his artistic heritage. He died in Hong Kong in 1991, leaving behind a remarkable artistic legacy and a lasting influence on modern Chinese art.

Estim. 180,000 - 200,000 EUR

CHINE, Dynastie Qing, Période Kangxi - Rare green-family porcelain 'Peach' footed bowl This elegantly crafted bowl features rounded sides that rise to a slightly flared, vertical rim, supported by a hollow conical foot. The exterior is finely decorated with a frieze of peaches in intense iron-red, mixed with leaves painted in underglaze blue and emerald green. Inside, a central medallion depicts two birds on a peach blossom overlooking rocks and lingzhi mushrooms. Height: 13.4 cm Diameter: 15.7 cm Provenance: From the French art market. In view of its historical importance, we assume that this object was probably acquired during a military expedition and subsequently brought back to France, where it would then have been preserved over the generations by the descendants of the original purchaser. The elegance of the workmanship and the finesse of the glazes on this footed bowl testify to the virtuosity of Jingdezhen craftsmen in the late Kangxi period. Despite the absence of a brand name, the excellence of its craftsmanship reveals its imperial destiny. The peach motifs, symbols of immortality, indicate that the object was probably intended as a birthday present. During the Ming and Qing dynasties, milestone dates such as the 60th, 70th and 80th birthdays of the emperor and his mother were the occasion for lavish celebrations, complete with banquets, performances and processions, as well as specially designed presents for the emperor in Beijing. Preparations for Emperor Kangxi's 60th birthday in 1713 demanded that productions in the Jingdezhen workshops be undertaken more than two years in advance, a necessity also observed for his 70th birthday in 1723, which he unfortunately did not live to see. Given the 'longevity' motif and the exceptional quality of this and similar bowls, it is likely that they were commissioned for the Empress Dowager or Emperor Kangxi on the occasion of their 60th birthdays in 1673 and 1713, or in anticipation of the Emperor's 70th birthday in 1723. Notable comparisons: Another example, from the collection of Ernest Grandidier, is in the Musée Guimet in Paris (collection number G 3493). A second is in the collections of the National Palace Museum in Taiwan (inventory number C1B000172N000000000PAC). For an art market perspective, an identical model, although retaining its lid, was sold at Sotheby's in New York on March 20, 2018, lot 346, from the Jie Rui Tang collection. 中国,清朝,康熙时期 稀有的绿釉家族'桃'瓷脚碗 这个优雅制作的碗具有深圆形侧壁,向上延伸至略微外翻的直立边缘,由一个空心圆锥形底座支撑。外部精细绘制了一圈鲜艳的铁红色桃子,与蓝色釉下和翠绿色叶子交织在一起。内部有一个中心圆形图案,描绘了两只鸟栖息在盛开的牡丹树上,下方是岩石和灵芝。 高度:13.4厘米 直径:15.7厘米 来源:来自法国艺术市场。鉴于其历史重要性,我们推测这件作品很可能在一次军事远征中被收购,并随后带回法国,由最初购买者的后代一代代保存下来。 这个脚碗的制作精美和珐琅的细腻,展现了康熙时期晚期景德镇工匠的高超技艺。虽然没有标记,但其制作的卓越品质显示了其皇家用途的命运。桃子图案,作为不朽的象征,表明这件作品可能是作为生日礼物而设计的。在明清时期,皇帝及其母亲的60岁、70岁和80岁生日都会举行盛大庆典,包括为期数周的庆祝活动、宴会、表演和游行,以及专为皇帝在北京接受和赠送的礼物。为了准备康熙皇帝1713年的60岁生日,景德镇的瓷器生产需提前两年多开始,1723年他70岁生日的准备也是如此,不幸的是他最终未能见证这一天。 考虑到这些碗的'长寿'主题和卓越的质量,很可能是为慈禧太后或康熙皇帝在他们1673年和1713年的60岁生日,或为皇帝1723年的70岁生日预定的。 值得注意的比较:另一件藏品,属于欧内斯特-格兰迪迪耶的收藏,现藏于巴黎吉美博物馆(藏品编号G 3493)。另一件藏于台湾国立故宫博物院(藏品编号C1B000172N000000000PAC)。从艺术市场的角度看,一个相同模型的碗,尽管保留了其原始盖子,于2018年3月20日在纽约苏富比拍卖行的拍卖中出售,拍品编号346,来自洁瑞堂收藏。 ★ To bid on this lot, a deposit will be required. To bid on this lot, a deposit will be required. 若您希望参与竞拍此拍品,需缴交一笔保证金。

Estim. 100,000 - 150,000 EUR

Kikugawa Eizan (1787-1867) Hashira-e, Falcon perched on a gnarled pine branch in the rising sun. Signed Eizan. (Cut). 57.4 x 9.5 cm Provenance: Galerie Beer, Brussels. Kitagawa Kikumaro (act. 1800 -1820) Hashira-e, Two oiran, one holding the flap of her kimono decorated with blossoming peonies. Signed Kikumaro hitsu. (Faded colors, restorations). 59.6 x 11 cm Kikugawa Eizan (1787-1867) Double oban tate-e, standing Oiran raising his sleeve in front of his mouth, his kimono decorated with sakura flowers, the obi with red, white and black checkerboard motifs. Signed Kikugawa Eizan hitsu. (Glued to cardboard, stains). 71.6 x 24.2 cm Provenance: Galerie Léopold, Brussels, April 29, 1950. - Keisai Eisen (1790-1848) Double oban tate-e, geisha placing a candle inside a lantern. Signed Eisen ga. (Stains, holes, added margins). 79 x 29.1 cm - Kikugawa Eizan (1787-1867) Double oban tate-e, geisha sheltering a lamp behind her sleeve. Signed Kikugawa Eizan. (Lined, restorations, holes). 66.1 x 22.3 cm Provenance: Galerie Léopold, Brussels: - Galerie Léopold, Brussels. - Galerie Giroux, Brussels. Utagawa School - 19th century Diptych, two oban tate-e, two courtesans strolling on a teahouse background, unsigned. (Restoration, folds). 33.8 x 22.7 cm and 34.1 x 22.7 cm Utagawa Sadafusa (1820-1840) Oban tate-e, The actor Nakamura Shigan III. Signed Gokitei Sadafusa ga, publisher Ryogoku. (Restoration, holes, lining, folds). Provenance: - Galerie Léopold, Brussels, November 9, 1946. - Canneel 24, Brussels, July 5, 1944. Utagawa Yoshitora (act. 1836-1887) Double oban tate-e, Oiran standing, hand in her obi, wearing a kimono with iris, peony, cherry blossom and swastika motifs, the obi decorated with waves. Signed Yoshitora ga. (Stains, restorations). 67 x 23 cm Provenance: Hôtel des ventes Giroux, Brussels Hôtel des ventes Giroux, Brussels, May 14, 1949. - Tachibana Sekihô (act. 1801-1818) Hashira-e, Two courtesans, one holding a fan. (Fading, folds). 62 x 12.2 cm - Isoda Koryusai (1735-1790) Hashira-e, Atsumori greeting his beloved Tamaori Hime before leaving for war, signed koryusai ga. (Lined, cut, folds). 61.3 x 10.9 cm - Isoda Koryusai (1735-1790) Hashira-e, Yujo to Shinzo, courtesan and her pupil, signed Koyru ga. (Cut, folds, lined, small holes, missing upper left). 56.4 x 12 cm Provenance: - Galerie Wansart, Brussels, February 1949. - Galerie Van Stockum, The Hague, April 7, 1959 and March 22, 1952. Suzuki Harunobu (1725-1770) Hashira-e, Young woman under a branch of cherry blossoms, her kimono decorated with pine trees and koto trestles. Signed Suzuku Harunobu ga. (Stained, missing, reinforced). 68.7 x 11.2 cm Provenance: Galerie Van Stockum, The Hague, November 26, 1951.

Estim. 500 - 600 EUR