Palm Springs - Asian Art and Furniture

Small Betel Nut Box, Maranao, Southern Philippines (Mindanao). Bronze with bordered silver inlay design overall of a symmetrical floral tendril vine pattern referred to as “the okir ...

Chinese red lacquered painting table, soft wood construction with unusual detailed relief skirt carving depicting figures and flowers, three deep drawers with inset brass hardware, i...

Antique Chinese Silvery bronze lobed “Beast and Birds” Mirror, Tang Dynasty. The eight-foliated barbed form having a a center cast relief knop in a four legged Beast form surrounded ...

Japanese Tomyodai, a temple light stand created of hand wrought iron in an upright form of a circle or "tama" ( flaming jewel of spiritual enlightenment )...

Chinese ink rubbing printing depicting Panthaka Arhat, no.4 of the 16 arhat images immortalized in stone at the former stupa at Shengyin Temple. Depicted here sitting on a rock with a book in his left hand and snapping his fingers in his right hand, symbolic of the speed at which he obtained enlightenment, accompanied by a beggar’s bowl and an incense burner, complete with colophons and silk scroll mounting. The Emperor Qianlong ordered the stone stele to be carved in 1764 after the arhat designs painted by the famed artist Guanxiu (832-912). Even though the temple was destroyed in the Taiping rebellion, the steles remain and have been reinstalled at the Hangzhou Stele Forest. Condition: Creases from rolling, otherwise fine condition. Mounting: 58” x 22”. 19th Century. Ex Collection: Frank “Till” & Peggy Durdin, San Diego. For other rubbings of this stele see: Penn Museum, object number 2010-26-4 The Metropolitan Museum of Art AN#: 59.195.15 Fine Arts Library of Harvard University, record id: W280021_urn-3:FHCL:478850 For another example of this image rendered in jade and lacquer see: “Screen Paintings of Guanxiu’s Sixteen Arhats in the Collection of the Palace Museum” Luo Wehhua translated by Bruce Doar, Orientations, September 2010, p. 104. In this article the image is identified as the sixteenth arhat Abheda, It is explained in this article that Qianlong re-identified the arhats, thus the 16th Arhat attribution for this image. Also in this article the identical colophon by Qianlong above the image is translated as: “These accurate portraits of the Sixteen Arhats were created by the Tang Dynasty painter Guanxiu, as recorded in Xuanhe Huapu (Record of paintings in the Xuanhe Reign), and during the millennium from the Guangming reign period to the present day, the original works were to be found in Zhejiang, where they were housed in the collection of Shengyin Temple in Qiantang (Huangzhou). In spring of the dingchou year (1757) of his reign, the Qianlong emperor undertook a southern tour of inspection and stayed at an imperial lodge on the West Lake. He went to the temple to pay his respects and there he saw the arhats on display and wrote a description of these marvels. The sequence of the arhats and their names had been passed down since ancient times, but they did not correspond to their Sanskrit titles; the sequence of the arhat names conformed instead to the interpretation of the Sanskrit classics by the Zhangjia State Preceptor. The emperor penned the original names and positions in the sequence below each of the figures in accordance with the readings supplied in Tongwen Yuntong (Unified Rhymes), and below each he penned an encomium, which he signed. Then the images were returned to the collection, to be passed down as a perpetual treasure. Now, the fourth great arhat had long gone missing and we did not know where his painting was. But it was merely a trifling matter of matching the images with the names, and now surely we have found him! This I, the emperor, believe.” All 16 of these rubbings can be found in the Rubel Chinese Rubbings Collection at the Fine Arts Library of Harvard University with the following descriptive historical note: “Rubbing from stele depicting No. 4 of 16 arhats (Lohans, Buddhist saints) -- Nan ti mi duo luo qing you, Panthaka Arhat. Original painting attributed to Guanxiu, 832-912. Inscriptions written by Hongli, Emperor Qianlong (Gaozong, 1711-1799) of Qing Dynasty. 7 seals of Qianlong follow the inscriptions. Script style: in xing shu. Shi liu zun zhe -- "The 16 noble ones" are 16 lohans. Lohans are also called "a-lo-han" based on the transliteration of the Sanskrit term "arhat." (Japanese: Rakan; Chinese: Lohan; Tibetan: Gnas-brtan). Arhats or Arahants are saints or sages said to have renounced nirvana (freedom from the cycle of suffering and rebirth), vowed to remain in the world to protect the Dharma and propagate the Law of the Buddha in order to devote themselves more effectively to the relief of human misery, like the Bodhisattvas. These 16 Arhats, personal disciples distinguished by the Buddha, formed part of the 500 claimed by tradition to have attended the First Council in Rajagrha. The names and abodes of these 16 arhats are given in a work entitled "Record on the Duration of the Law, spoken by the Great arhat Nadimitra," which was translated into Chinese by the famous pilgrim Xuanzang (596-664) in 654. 16 lohans are quite often represented, especially in China and Japan, in sculpture and painting, in poses and with attributes. Every lohan can be easily with special icongraphic characteristics. Guanxiu (Jiang Deyin or Deyuan, a Buddhist monk also named Master Chan Yue, 832-912) -- painter during late Tang to Five Dynasties, specialized in painting lohan figures. Legend has it that the first portraits of the 18 Lohans...

Antique Shan (Tai Yai) Jambupati Buddha Image, wood, lacquer and gold leaf, Konbaung Empire (1752-1885) A crowned style that displays Northern Thai iconography merged with the aesthetic of Burmese rule in the region. The figure is depicted in the popular Theravada seated position of padmasana, (interlocking legs position) and the hand mudra in bhumisparsa (earth touching) wherein the feet are souls  up, the fingers of the right hand extend beyond the right shin and the left hand palm up resting above the lap. Remnants of the leaf-like kirita crown remain.  The image is dressed in Burmese royal costume with thayo rolled lacquer relief decoration modeled into cuffs, epaulettes, knee pads and a detailed “U” shaped necklace covering the chest. There is also a lappet of clothing between the legs draping down toward the base. The figure is seated upon a tall and waisted throne pedestal having rows of lotus petal grooves on the diagonal portions . The  base and body are carved from one solid piece of hard wood. All covered in black lacquer with thayo lacquer details, red pigment for the lips and gold leaf overall. The Jambupati style Buddha illustrates the tale of the Buddha’s life when he came across the arrogant King Jambupati, a king who terrorized his subjects and who lacked humility and compassion for his people. The Buddha on meeting the King asked that he forsake his evil ways and instead practice kindness to his fellow man. Ignoring the Buddha’s request, the King continued to terrorize the people. The Buddha then in his efforts to change the King of his evil ways, one day magically appeared to him in resplendent royal attire. King Jambupati was in awe of the Buddha’s appearance prostrated himself in obeisance and from that day onward accepted the Buddhist precepts. In Southeast Asian countries like Burma, where rulers have very high if not semi-divine status, tales of this type, reinforced the need for the leader to worship the Buddha, the King of Kings. Condition: Heavy deterioration of the underside of the base as well as the interior portion of the crown, other losses include crown flanges, the crown spire, earrings, the tip of the left thumb, one base corner edge, rolled lacquer losses and general wear of the gold leaf surface, all commensurate with age and wear. Measuring: 22.25 in. high x 8.75 in. wide x 7.75 in. deep(56.5cm x 22.2cm x 29.7cm). Weight: 10.8 lbs. Age: Late 18th century. Provenance: Lark...

Vintage Hand Dyed Cotton Batik Slendang (Selendang), Java. A length of cotton fabric used as a shoulder cloth, hand dyed in two colors: red and blue painted over a wax resist design,...

A rectangular lightweight silk textile with traditional Palembang decoration by means of plangi (rainbow tie-dye) and tritik (stitched and gathered resist) processes in one dye lot o...

Japanese colors, gofun and metallics on silk painting of Noh/Kabuki Dancers, depicting two figures of actors dancing in the play Shakkyo portraying a pair of shishi (lions), one on a...

Thai ceramic covered box from the Sawankhalok kilns. High shouldered round form with a slightly convex flat lid and small boss finial on top decora...

Antique “Waster” Celadon Bowl, Sawankhalok kilns, Thailand, 14th/15th century. A thickly potted wheel thrown stoneware bowl with everted rim having an upturned lip. The cavetto with ...

Antique Japanese Yokogi, a fish shaped fulcrum for the pot hook assembly over the hearth, a naively carved Tai (Sea Bream) with large head pierced for the hooked pole and the large tail pointed upward with a metal loop for the cord attachment, incised carving for facial details and scales, encrusted patina from use. Wood storage box made of hinoki. Excellent condition. 5-7/8 in. high x 14-3/4 in. long x 4 in. wide. Weight: 4 lbs. 4 oz. Late Edo, Circa 1800. Published in a Japanese newspaper in 1964 (article and translation available). Provenance: with Kingo Kondo, Kyoto 1964 Ken Domon...

Antique Thai Fish Bowl, Sukhothai Kilns. A deep stoneware bowl with black slip painting of a fish with his tail extending beyond the concentric band on center, further band decoratio...

Japanese bamboo and rosewood display stand, used for Ikebana or an Okimono in the Tokonoma, center floating panel with upright bamboo veneer dec...

Antique Chinese Cinnabar Lacquer Tray/Stand with Dragon Design, Guangxu Period (1875-1908). A dark vermillion red carved cinnabar lacquered Scholar’s tray on raised and footed supports. The top and sides of the tray carved in tight geometric diminishing square hatch ground with blossom centers. The aprons carved in deep relief on each side with two opposing auspicious five-clawed dragons chasing the flaming pearl amongst the clouds. The four corners with square curved feet supports. The underside lacquered black and unmarked. 4.75 in. high x 15 in. wide x 12.75 in. deep (12 x 38 x 32.5 cm). 4 lbs. 6 oz. (1983g.) Guangxu Period (1875-1908) Provenance: Property removed from a residence at the Pierre Hotel, New York, 2021. U.S.A. art market. For similar cinnabar dragon...

Antique Thai Mother-of-Pearl Inlaid Offering Tray. Crafted of assembled wood in an elevated and footed rectangular shape with rounded corners, lacquered red on the interior and black...

Japanese Rosewood Square Tea Table in Chinese style having tapered legs with bracket hoof feet, elbowed cross struts and center floating panel. Minor shrinkage, surface scratches, an...

Thai ceramic covered box from the Sawankhalok kilns. Globular fruit form with pinched foliate rim and sepal stem finial on top decorated in brown a...

Antique Thai Frog Shaped Kendi, Sawankhalok Kilns, Si Satchanalai. A squat globular stoneware body of good size having a narrow upright neck and everted mouth. The short narrow spout has the shape of an imagined frog snout. The modeled details include bulging eyes, ridge lines demarcating the spine, outline of the trunk and the legs with small webbed feet. The pot is glazed overall in a rich brown glaze lightly pitted from burial which stops short of the well trimmed foot rim revealing the beige colored biscuit. Condition: Excellent with no knowledge or evidence of any restorations. Age: 13th/14th century. Size: 5.5 inches high x 5.5 inches in diameter (14 x 14cm). Weight: 1 lb. 10.5 oz. (753g.) Provenance: U.S.A. art market For similar examples see: Museum of Anthropological Archaeology, University of Michigan at Ann Arbor, Bekker Collection UMAA 2007-8-56. Charles Nelson Spinks, Siamese Pottery in Indonesia, fig. 42. Charles Nelson Spinks, The Ceramic Wares of Siam, Ladejinsky collection, pl.36. Roxanna Brown, Legend and Reality, Early Ceramics from South-East Asia, pl.180. Note: Sawankhalok zoomorphic kendis have mostly been found  in the 20th century within the Indonesian archipelago. This may indicate that the shape, such as this frog pot...

Hand painted porcelain Japanese Imari charger scallop edge plate with figures, buildings, trees, mountains, birds and floral design.

Chinese Decorative Lacquered Wood Jardiniere, small, elegant form carved from a single segment of wood, raised high on four cabriole curving legs, top consisting of a rectangular ope...

Thai ceramic covered box from the Sawankhalok kilns. High shouldered round form with a flat lid having a neatly trimmed shoulder and peaked stupa ...

Thai gilded copper alloy sculpture of Phra Malai visiting the damned to hell, a standing monk image with a basket slung over his right shoulder costumed in ...

Two Laotian Clay Water Vessels (Nam Ton), Beaker & Kendi, 19th century. The coil built low fired clay shapes are squat globular bodies with tall handle-like necks. One is a tall beak...

Japanese Rosoku-tate or Shokudai (candle stand) a lathe turned wood in a slender baluster form with attached concave circular base and broad circular wood candle base tapering down ...

Japanese Collagraph Print by Tsuguo Yanai (b. 1953, Hagi, Yamaguchi), titled “Broken Heart” in Japanese with the printing number 2/30 under the image on the left and pencil signatur...

UH80301 Japanese Bronze Tripod Ritual Wash Basin (Ashitsuki-darai), Muromachi Period, 16th century.   A five petal round form with undulating rolled edge and...

Antique Burmese Lacquer Rectangular Box with Incised Decoration of Elephants and Figures. The box crafted of wood and covered in several layers...

4-Color Plangi and Tritik Silk Shawl, Palembang, Sumatra. A rectangular lightweight silk textile with decoration by means of plangi (rainbow tie-dye) and tritik (stitched and gathere...

Japanese ink on paper painting of Plum Blossoms and Poem, scroll mounting, signature & single seal: Tani Buncho (1763 - 1840). A famous and prol...

Hand painted porcelain Japanese Imari charger plate with birds and floral motif.

Personal size Betel Nut Box, Maranao, Southern Philippines (Mindanao). A mixed metal box having a brass body with bordered silver inlay design overall of a symmetrical floral tendril...

A beautiful Japanese Bronze vase from the Meiji period we believe. Early 20th Century. Nice scale and form. It is slightly over 24 inches tall. Crisp casting and nice detail. The b...

An elegant Chinese black glazed ceramic pottery vase with handles. We acquired this out of a nice Palm Springs estate. It has great scale at 20 inc...

A pretty Asian probably Chinese early 20th century iron oxide glazed Vase. It bears a Steve Chase inventory label with a $1000.00 price tag.

An exquisite example of an Asaian bronze art this bust of a woman is signed with a monogram on the back. It is mounted to a black wood base.