We are delighted to take part in 'Asian
Art in London 2002', and to present
an exhibition of Chinese sculptures
and works of art covering a period of
over two thousand years.
The majority of the sculptures represent
Buddhist deities. They are carved and
cast in a variety of materials - including
the only published depiction of a Liao
dynasty Louhan in gilt bronze (no.1),
and sculptures in wood and parcel gilt
bronze. An example of the latter (no.11)
is particularly interesting - being
dated to 1496 AD. There is also a seated
figure of Guanyin on a zitan stand -
by the master of silver inlay into bronze,
Shih-sou (no.14).
In contrast to the Buddhist art and
bronze sculpture, we have included a
colourful and decorative pair of seated
plaster nodding figures circa 1780 (no.15).
The works of art have been compiled
as a celebration of the Chinese craftsman's
ingenuity. They include flamboyant Imperial
works of the 18th century such as an
intricately worked pair of ivory panels
(no.50),
and an extravagant cloisonné panel (no.29).
These contrast with the more austere
scholar's taste of a Ming dynasty soapstone
seal carved with Qing dynasty calligraphy
(no.53),
and a Song dynasty archaistic miniature
bucket inlaid with gold and silver (no.20)
- a superb example of the Chinese reverence
for and homage to an earlier period.
A silver gilt basin (no.18)
perfectly encapsulates the wealth and
flamboyance of the Tang court during
the 8th century - with its exuberant
floral decoration around a central classic
design of two swimming carp (an image
that prevails in Chinese art).
The Ming and Qing dynasties are represented
by works of art in cinnabar lacquer,
bamboo, ivory, hardwood, glass, textile,
enamels - both canton and cloisonné
- and semi precious stone inlays into
lacquer and skimmed bamboo. The pair
of inlaid lacquer cabinets (no.40)
perfectly illustrates the quality of
the latter work; the subject matter
is charming - with boys at play amongst
animals and flora - but it is the variety
of materials used in the inlays and
the crispness of their carving that
marks them out as 'Chinese taste' works
of the highest quality (rather than
Chinese export art).
Equally charming is the pair of Canton
enamel panels (no.34)
that show intimate
family scenes within domestic interiors
- allowing one a fascinating glimpse
of Chinese life. These panels were most
probably made in Canton for the Chinese
market as the work is comparable in
quality to the finest Beijing enamels
of the period, suggesting that they
may well have been given as tribute
to the Imperial court. The carved ruby
red glass jug with gilt metal handle
(no.58)
is also a product of the Canton workshops
and a typical illustration of the fusion
between east and west. A similar ewer
in the Asian Art Museum, San Francisco
bears a Qianlong mark demonstrating
that this group was destined for the
Imperial court. Also made for the Chinese
court, and carrying Qianlong marks -
a pair of elephants (no.36)
in lacquered wood are richly embellished
with cloisonné and champleve enamels,
hard stones, and ivory.
Other works covering a further wide
range of material and taste include
metalwork - from a Warring States bronze
plaque (no.16)
to a Ming pewter vase and cover inlaid
with copper (no.22),
a selection of 18th century glass, and
a large five dragon silk kossu (textile)
of the Wan Li period (no.41).
We trust that you will share our delight
in this decorative, eclectic and unique
compilation of Chinese Art. |
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Carved
Beijing Glass Jar
Qianlong period
1736-1795 AD
China
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Pair
of Lacquered Elephants
Qianlong
period
1736-1795 AD
China |
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