VIETNAM (probably Thanh Hoa province) in the DONG SON taste

Square-heeled pede…

Description

VIETNAM (probably Thanh Hoa province) in the DONG SON taste Square-heeled pedeform axe (rìu) in bronze Incised decoration of a deer surrounded by geometric motifs Beautiful jade-colored patina 8 x 8.8 cm (Oxidation and wear) Provenance : Former collection of a French ambassador to Vietnam, then by descent Les Routes de la Soie, part II, sale 2024, Adjug'art, lot n°280 Comparison: An axe with similar decoration, but less oxidized, kept at the Musée Cernuschi (accession no. MC 7363). Another showing a deer hunting scene is kept at the National Museum of Vietnamese History in Hanoi. Bibliography: C. NOPPE, J. GUILLAUME, L. MARTINOT, G. WEBER, Analyse de quelques bronzes de la Culture de Dong Son (Vietnam) et de tradition dongsonienne à Java, Les cahiers de Mariemont, vol. 39, 2010, p. 40 fig. 8a.

220

VIETNAM (probably Thanh Hoa province) in the DONG SON taste Square-heeled pedeform axe (rìu) in bronze Incised decoration of a deer surrounded by geometric motifs Beautiful jade-colored patina 8 x 8.8 cm (Oxidation and wear) Provenance : Former collection of a French ambassador to Vietnam, then by descent Les Routes de la Soie, part II, sale 2024, Adjug'art, lot n°280 Comparison: An axe with similar decoration, but less oxidized, kept at the Musée Cernuschi (accession no. MC 7363). Another showing a deer hunting scene is kept at the National Museum of Vietnamese History in Hanoi. Bibliography: C. NOPPE, J. GUILLAUME, L. MARTINOT, G. WEBER, Analyse de quelques bronzes de la Culture de Dong Son (Vietnam) et de tradition dongsonienne à Java, Les cahiers de Mariemont, vol. 39, 2010, p. 40 fig. 8a.

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Estim. 150 - 200 EUR

Asia. Manuscript in the Lolo language from Sichuan province in China (near Mapien). [2] blank ff., [10] ff. handwritten in black ink, [14] blank ff. on fine paper, [1] f. black paper cover, all rolled up and placed in a tube case with a small crescent of brocaded silk with green and pink ribbons. Size of unrolled leaves: 50 x 22.5 cm. The Yi are an ethnic group from China. Their ancient name, Lolo or Luóluǒ (倮倮, luóluǒ, "stripped"), is now considered pejorative in China, but is still used officially in Vietnam (Lô Lô) and Thailand (Lolo, โล-โล), where it does not have this meaning in the local language. Numbering 7.8 million in 20002, they represent the sixth largest ethnic group of the 56 officially identified by the People's Republic of China. They live mainly in rural areas of Sichuan, Yunnan (notably Xian autonomous Yi d'Eshan), Guizhou and Guangxi, usually in mountainous regions. The Yi speak a Tibeto-Burman language, Yi, of which there are many varieties, and which they write using the Yi syllabary. The names Lolo, Lolopu, etc. are linked to the veneration of tigers among the Yi; in their dialects, the word "lo" means "tiger". "Lo" is also the basis of the Chinese name for the group, Luóluó (猓猓, 倮倮, or 罗罗). The Yi are descendants of the ancient Qiang people of western China, believed to be the ancestors of today's Tibetan, Naxi and Qiang peoples. They migrated from south-eastern Tibet to Sichuan and Yunnan province, where the majority of their population now resides. In the 15th century, a small part of the Lolo ethnic group settled in the Tonkin region (present-day Vietnam). Today, there are two sub-groups in Vietnam: the Flower Lolos living in the districts of Méo Vac and Dong Van (Ha Giang province) and the Black Lolos living in the district of Bao Lac (Cao Bang province). In 1726, under the Qing dynasty, the Manchu officer Ortai attempted to abolish the tusi system as part of his policy of governance reform. In 1730, in one of his reports to Emperor Yongzheng, he pointed out that the people were loyal to native officers, but not to Chinese authority. Over 30,000 Yi were slaughtered in the small town of Mitie. In Wumeng, Dongchuan and Zhenxiong, ethnic minorities and Chinese migrants were killed by 20,000 soldiers led by Ortai. A large number of Yi then escaped to the Liangshan mountains in Sichuan (source Wikipedia.)

Estim. 19 000 - 20 000 EUR

Trà Kieu style Lakshmi; Vietnam, Champa civilization, 10th century. Sedimentary rock. Attached certificate of authenticity from the specialist Ha Thuc Can. Measurements: 65 x 39 x 26 cm. Sculpture carved in sedimentary rock representing Lakshmi, sitting with her legs crossed and her hands on her knees, her torso naked and her eyes closed in a praying attitude. The piece has not been worked in the back area, a feature that indicates that it was conceived to be seen from the front. As for the carving, the voluptuousness of the forms stands out. Lakshmi is one of the main goddesses of Hinduism. She is the goddess of wealth, fortune, power, beauty, fertility and prosperity and is associated with Maya. Together with Parvati and Saraswati, she forms the Tridevi of Hindu goddesses. Lakshmi is both the consort and the divine energy (shakti) of the Hindu god Vishnu, the Supreme Being of Vaishnavism; She is also the Supreme Goddess in the sect and helps Vishnu to create, protect and transform the universe. Whenever Vishnu descended to Earth as an avatar, Lakshmi accompanied him as a consort, for example, as Sita and Radha or Rukmini as consorts of the avatars of Vishnu, Rama and Krishna, respectively.Trà Kieu was the first capital of the Hindu kingdom of Champa, then called Simhapura, between the 4th and 8th centuries AD. Nothing remains of the ancient city today, except for the rectangular walls. Although the Cham monuments of Trà Kieu, in Quang Nam province, have been destroyed, several magnificent pieces of sculpture associated with the site are still preserved in museums. Attached certificate of authenticity from specialist Ha Thuc Can.

Estim. 10 000 - 12 000 EUR

Brahma; Vietnam, Thap Nam, Binh Dinh province, Champa, 12th-13th century. Sandstone. Measurements: 95 x 52 x 11 cm. Stele made of sandstone representing the figure of Brahma in relief. In the framework of Hinduism, Brahma (literally "evolution" or "development", in Sanskrit), is the creator god of the universe and member of the Trimurti, the triad formed by himself (creator god), Vishnu (preserver god) and Shiva (destroyer god). There are several myths about the origin of the Trimurti, although the first myth is the one that supposes Brahma as the first being created by Brahman, and even as the first personification of this absolute deity, by whom everything was created. Thus, the three gods would be avatars of a single god, in his facets of creator, preserver and destroyer. Brahma is the husband of Sarasvati, the goddess of knowledge. However, being the Creator, all his children are born of his mind, and not of his body. Brahma intervenes only occasionally in the affairs of the gods, and rarely in those of mortals. Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam for a period of approximately one thousand years, between 500 and 1700 AD. The Cham created free-standing sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art.

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