The Mandalay Period represents the last great cultural flourishing of Burmese art. The period was named after the city of Mandalay, which served as capital of Myanmar for a  More »

The Mandalay Period represents the last great cultural flourishing of Burmese art. The period was named after the city of Mandalay, which served as capital of Myanmar for a brief period (1860-1885 A.D.) during the reign of King Mindon. After the Anglo-Burmese Wars, northern Myanmar was shut off from the coastal areas that were controlled by the British. King Mindon founded the new capital at a sacred site at the foot of a large hill. The center of the city was designed in the perfect geometrical form of a Buddhist Mandala, giving the city its name. Although this short-lived kingdom finally fell to the British forces in 1886 A.D. during the Third Anglo-Burmese War, the Royal Guilds that created such remarkable works of art for the King remained in the city where they continued to produce sculptures in the Mandalay style.This type of standing Buddha is commonly referred to as the “walking Buddha.” Apparently, this posture appears to illustrate certain texts that were recorded during the Sukhothai period. Specifically, this form seems to relate to the Buddha as described in canons written during the reign of Rama Khamheng in the late 13th Century. In the city of Sukhothai, representations of the walking Buddha were found placed against the walls of temples. One hand is traditionally held in the Abhaya mudra, which symbolizes protection, benevolence, and peace, while the other arm hangs beside the body. Sometimes, one leg is portrayed advancing forwards of the other, contributing to the designation of these figures as walking. This marble walking Buddha portrays the Sakyamuni holding his right arm in front of his chest, with his hand forming the Abhaya mudra, while this left arm clutches the overhang of his robe. He stands with both his feet together upon a circular base. There are extensive remnants of the original gilding covering much of the work, specifically the robes, as well as some polychrome hues visible on the head and base. - (X.0536)   « Less

After the destruction of Ayutthaya in 1767 by the Burmese, King Tak Sin the Great drove out the invaders and reunified the country, establishing a new capital at Thonburi, a  More »

After the destruction of Ayutthaya in 1767 by the Burmese, King Tak Sin the Great drove out the invaders and reunified the country, establishing a new capital at Thonburi, a strategic river port town at the mouth of the Chao Phraya River. After Tak Sin was deposed, Thong Duang was chosen as king, known as Rama I, establishing the Chakri Dynasty which continues to reign over Thailand to this day. He moved the capital across the banks of the Chao Phraya River to its present location of Bangkok. The art of this period is known as the Rattanakosin style, although it is also referred to as the Bangkok style. Naturally, Rattanakosin art carried on many of the traditions of the Ayutthayan style, thereby establishing a link with the past.The historical figure, Buddha Gautama Sakyamuni is the Buddha of compassion who, having achieved the highest evolutionary perfection, turns suffering into happiness for all living beings. Born around 560 B.C. somewhere between the hills of south Nepal and the Rapti river, his father was a Raja who ruled over the northeastern province of India, the district including the holy Ganges River. The young prince was married to Yashoda when he was about 17 years old and together they had a son named Rahula. At the age of 29, he left his life of luxury, as he felt compelled to purify his body and make it an instrument of the mind by ridding himself of earthly impulses and temptations.This gorgeous bronze Buddha is seated in the dhyanasana position high upon a tiered base. With his hands, the Buddha forms the bhumisparsa mudra, which can be literally translated as the “gesture of touching the earth” in which the Buddha touches the ground in order to call on the earth to witness his enlightenment. Calm and serene, he looks downwards with half closed eyes. The Buddha’s distinctive tightly curled hairstyle is typical of Thai representations. A flame of enlightenment rises from the top of his ushnisa, a bump symbolic of the Buddha’s infinite wisdom. The sculptor has masterfully molded the subtle folds of fat around his neck, again indicative of the spiritual fullness and inner peace embodied by the Buddha. Overall, this exquisite sculpture beautifully memorializes one of history greatest holy figures - (X.0596)   « Less

Rattanakosin came into being when King Rama I ascended the throne in 1782. He decided to establish the new capital on the east bank of the Chao Phraya River for better  More »

Rattanakosin came into being when King Rama I ascended the throne in 1782. He decided to establish the new capital on the east bank of the Chao Phraya River for better security from Burma. King Rama I was determined to build a new capital to revive the glory and splendor of old Ayutthaya. The new capital was proclaimed and hence began the Rattanakosin era or Bangkok period under the glorious reign of the Chakri Kings. King Rama I choose a site just north of Wat Pho an old 17th century temple. With the Chao Phraya on the west and the Lod Canal on the east, the new capital was far more defensible. In accordance with Thai customs, the first task was laying the foundation pillar for the new city. The City Pillar Shrine or Sao Lak Muang was established on 21 April 1782. Later King Rama IV, an avid astrologer, felt that a more auspicious location was required. The shrine was moved to the present location on 5 December 1852. Construction of the Grand Palace commenced on 6 May and King Rama I occupied the royal residence on 13 June. Hundreds of boatloads of rubble were shipped from the ruins of Ayutthaya to build the city walls and public buildings of Rattanakosin. At the same time, the Temple of the Emerald Buddha or Wat Phra Kaeo was constructed and completed in 1784. The Emerald Buddha was brought across the river from Wat Arun and installed in the new temple in the same year. Within the walls of the Grand Palace grew a self- contained city that held the seat of government and religion. It was the pride of the Chakri dynasty and Rattanakosin, the city that rose to glory from the ashes of Ayutthaya. - (X.0597)   « Less

Origin: Tibet Circa: 1600 AD to 1900 AD Dimensions: 10" (25.4cm) high Collection: Asian Art Style: Tibetan Medium: Wood Condition: Very Fine

Origin: Tibet Circa: 1600 AD to 1900 AD Dimensions: 10" (25.4cm) high Collection: Asian Art Style: Tibetan Medium: Wood Condition: Very Fine   « Less

Origin: Nepal Circa: 1600 AD to 1800 AD Dimensions: 37.5 " (95.3cm) high x 25.5 " (64.8cm) wide Collection: Asian Art Medium: Stone

Origin: Nepal Circa: 1600 AD to 1800 AD Dimensions: 37.5 " (95.3cm) high x 25.5 " (64.8cm) wide Collection: Asian Art Medium: Stone   « Less

Plaster sculpture of a young woman by french sculptor Georges Legrand.Born in Amiens, Georges Legrand was french artist specialized in monumental sculptures. Exhibition in  More »

Plaster sculpture of a young woman by french sculptor Georges Legrand.Born in Amiens, Georges Legrand was french artist specialized in monumental sculptures. Exhibition in 1931 and 1933 at "Société des Amis des Arts".   « Less

Gennarelli bronze sculpture from a Jean-Baptiste Millet painting "l'angelus" A. Gennarelli (1881-1943). Circa 1920. Signed + Foundry Mark. 7" x 3.2" x 6.5"

Gennarelli bronze sculpture from a Jean-Baptiste Millet painting "l'angelus" A. Gennarelli (1881-1943). Circa 1920. Signed + Foundry Mark. 7" x 3.2" x 6.5"   « Less

Origin: India Circa: 1800 AD to 1900 AD Dimensions: 5.8" (14.7cm) high x 8.2" (20.8cm) wide Collection: Asian Art Medium: Bronze

Origin: India Circa: 1800 AD to 1900 AD Dimensions: 5.8" (14.7cm) high x 8.2" (20.8cm) wide Collection: Asian Art Medium: Bronze   « Less

This serene sculpture of a flautist was made in India during the 16th century AD. It is a highly ornate carving, and thus predates the Mughal – Islamic –  More »

This serene sculpture of a flautist was made in India during the 16th century AD. It is a highly ornate carving, and thus predates the Mughal – Islamic – colonisation which is characterised by less figurative pieces. The figure is shown as a dancer, with the right leg crossed across the left. The body is draped in a long and diaphanous tunic with a very ornate front. There is also extensive jewellery, on the arms, chest and in the ornately coiffed hair. The face is beautifully rendered, and exceptionally expressive.Pieces such as this were usually made for temples or other public arenas, and were arranged in rows along walls and in niches. They usually represent specific figures in Hindu mythology, or sometimes just acolytes, dancers or entertainers to more notable figures. This is a beautiful piece of Indian art.- (RP.008)   « Less

Realistic 20th metal sculpture of a motorbike in miniature signed M. Purchased at a fair in Germany 15 years ago. Measures 29 inches long, 18 inches wide at handle bars, and  More »

Realistic 20th metal sculpture of a motorbike in miniature signed M. Purchased at a fair in Germany 15 years ago. Measures 29 inches long, 18 inches wide at handle bars, and 21 inches to the top of the back brace.   « Less