C. 500 AD. Chinese Northern Wei Dynasty. An elaborately crafted male attendant figure dressed in a rich red tunic and light brown trousers; from the rear view it can be seen that a brown sash or belt runs around his waist; a hat, possibly of the Wu Sha type or an elaborate topknot, perches atop his head. He folds his arms in front of him, his hands hidden, as if an attending on the viewer. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:225mm / W:55mm ; 415g
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C. 500 AD. Chinese Northern Wei Dynasty. A carefully crafted male attendant figure dressed in a pinkish-red tunic and brown trousers; a cream sash or belt runs around his waist; a hat, possibly of the Wu Sha type, perches atop his head. He stands with one arm by his side, the hand covered by his sleeve, and the other hand resting by his hip, with his elbow extended. On his back hangs a quiver filled with carefully incised arrows, indicating his status as a warrior. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:270mm / W:63mm ; 510g
C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for parade. The head is well modelled with notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mud guard. Traces of gold foil are still visible. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:450mm / W:330mm ; 3.8kg
C. 500 AD. Chinese Northern Wei Dynasty. A carefully crafted male attendant figure wearing in a brown tunic and trousers; a cream sash or belt runs around his waist; a hat, possibly of the Wu Sha type, perches atop his head. On his back hangs a quiver filled with carefully incised arrows, indicating his status as a warrior. Attendant figures such as this item were important to a variety of cultures with afterlife beliefs which involved trials, travels, or an afterlife similar to that which was lived on earth, as well as acting as representations of the ancestors. Popular iconographic choices included warriors, dancers, male and female courtly figures, and animals. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this figure exemplifies. Good condition. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market before 2000. Size: L:270mm / W:55mm ; 520g
C. 1368-1644 AD. Ming Dynasty. An exceptional turquoise glazed terracotta well comprising a characteristic shrine gate sitting atop bell-shaped well. During the Ming Dynasty, the Chinese art industry flourished and the production of ceramic and porcelain pieces increased exponentially. This glazed well would probably have been used on ritual occasions. Excellent condition. Provenance: Important estate collection from Oxfordshire; formed in the 1970s-2000. Size: L:450mm / W:170mm ; 2.1kg
C. 206 BC-220 AD. Han Dynasty. Beautiful figure of a Han Dynasty court lady.The lady stands upright in a graceful manner with both of her hands held below her chest. she wears long and tightly wrapped robe that underlines her slender body. The bottom part of her flared robe ends just above her feet. Her face is modeled with strong features, while the lips are painted in bright red. Her hair is combed back. In Ancient China, terracotta unglazed and low-fired glazed statuettes of animals and human figures, known in Chinese as mingqi, would have been placed in the deceased's tomb to ensure companionship and service in the afterlife. Mingqi were usually modeled as an intimation of either common objects that once played a vital role in Han Dynasty domestic life, or as zoomorphic and anthropomorphic figures that were closely related to the deceased when they were alive. Terracotta figures of court attendants, such as this fine example, were made for the service and entertainment of the owner, ensuring that their journey in the underworld was a happy one. The Han Dynasty, which ruled between 202 BC -220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:560mm / W:160mm ; 5.8kg
c. 3000-2000 BC. Bactrian. A beautiful example of a column idol (sometimes called a pillar idol) of waisted cylindrical form with flaring base, the base and top both carved with a shallow groove. Stone idols like this example are known in a variety of fascinating forms throughout the pre-literate ancient world. They are attested across the vast expanses of Western Asia from the Caspian Sea to Afghanistan, including ancient Bactria. Their precise meaning remains elusive, but the many hours of labour required for their manufacture makes it clear they were prestige items, perhaps used during religious ceremonies. Provenance: From an old British collection, acquired on the UK art market in the 1980s. Size: L:255mm / W:120mm ; 4.8kg
c. 3000-2000 BC. Bactrian. A beautiful example of a column idol (sometimes called a pillar idol), carved from a mottled pale-orange stone with white inclusions. The body of the idol is minimalistic and highly-abstract with an elongated conical form, and a single contiguous groove is carved around the entire sculpture. Stone idols like this example are known in a variety of fascinating forms throughout the pre-literate ancient world. They are attested across the vast expanses of Western Asia from the Caspian Sea to Afghanistan, including ancient Bactria. Their precise meaning remains elusive, but the many hours of labour required for their manufacture makes it clear they were prestige items, perhaps used during religious ceremonies. Provenance: From an old British collection, acquired on the UK art market in the 1980s. Size: L:217mm / W:115mm ; 5.5kg
100-300 AD. Gandharan bronze frieze plaque with Buddha. Depicted are four standing figures wearing simple monastic robes, with their right hands raised in the air. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: Private London collection, formed since the 1980s on the UK and European art market. Size: L:145mm / W:210mm ; 735g
100-300 AD. Gandharan bronze frieze plaque with Buddha and his followers. Buddha, standing in the centre and wearing a simple monastic robe, is flanked by a group of followers. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: Private London collection, formed since the 1980s on the UK and European art market. Size: L:105mm / W:205mm ; 441g
ca. 1800 - 1900 AD Islamic. Beautiful flat Islamic silvered bronze bowl. The decoration, which covers the whole of the outer surface, consists of a floral band and geometric patterns. The bottom of the inside of the bowl bears a particularly interesting motif made up of a series of geometric patterns. Similar bowls can be found all over the Islamic world and were used for different purposes. Sometimes in the mosque as a bowl for traditional food to eat in the mosque or for washing in the hammam. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market. Size: L:57mm / W:167mm ; 466g
19th century. Iran or Central Asia. Qajar style. Persian Qajar Dynasty chiselled brass "magic" bowl. Rounded form on short tapering base, the centre marked with a boss, the finely engraved decoration with talismanic inscriptions overall. Such bowls were used for healing with the patient drinking water from the bowl. The magical talismanic/ Koranic scripts would imbue the water with medicinal and healing properties. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market.s; Size: L:40mm / W:148mm ; 277g
c. 2000- 7th century BC. Western Asiatic. Western Asiatic Master of Animals Sceptre . A central tube terminating into a human head. Flanked by animals on either side, with curving haunches and tails below. It was probably used during religious rituals. The Master of Animals or Lord of Animals is a motif in ancient art showing a human between and grasping two confronted animals. It is very widespread in the art of the Ancient Near East. The figure is normally male, but not always, the animals may be realistic or fantastical, and the figure may have animal elements such as horns, or an animal upper body. Unless he is shown with specific divine attributes, he is typically described as a hero. In Western Asiatic Art the motif is extremely common, and often highly stylized. In terms of its composition the Master of Animals motif compares with another very common motif in the art of the ancient Near East and Mediterranean, that of two confronted animals flanking and grazing on a Tree of Life. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:450mm / W:85mm ; 420g
100-300 AD. Gandharan (or later) bronze sculpture of Buddha. He sits high upon a throne, holding the palm of his left hand in the air and the right one resting on his leg. He wears a simple monastic robe that clings to his legs, showing his bare chest. Incised lines has been added to suggest the folds of the cloth. The head is topped by an elaborate crown. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: From the private collection of Mr. R. Unger; previously with a London gallery; acquired in before 2000 on the UK art market. Size: L:145mm / W:88mm ; 440g
c. 1200 to 800 BC. Western Asiatic, Luristan culture. Attractive cast bronze figure of a four-legged, two-headed animal with flattened ears, large eyes and stylised muzzle, with strong, stocky legs. A collar around the animal's neck probably identifies it as a beast of burden. A ring on its back served to hang the piece on a string. This object may have served as an amulet to summon the animal's physical strength. Good condition; beautiful patina. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market.; Size: L:67mm / W:92mm ; 152g
c.10th-12th century AD. Seljuk. A beautiful cast bronze figure depicting a feline standing in profile, its captivating visage comprised of a large nose, rounded perky ears. Its dramatic countenance is enhanced by incised diagonal lines to represent fur surrounding the mouth. Its body stands with strong posture connoting pride, and its tail wraps over his back. An outstanding example of Seljuk metalwork. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Good condition; beautiful patina. Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market. Size: L:75mm / W:70mm ; 151g
c. 2900-2350 BC. Early Dynastic period. Mesopotamia. This carved stone mace head with diagonal flutes is among the most graceful weapons to survive from ancient Mesopotamia. The elegant, finely carved swirling ridges below the lip give a fluid character to this weapon. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:82mm / W:57mm ; 490g
100-300 AD. Gandharan. A grey schist figure of standing Buddha. He is depicted wearing a flowing gown and sporting a topknot (ushnisha). He has urna on his forehead, arched brow, heavily lidded, half-closed eyes, a bulbous nose, full lips, rounded chin and large, pendulous ears. He stands atop a plinth decorated with rosettes and is backed by a circular halo. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. Size: L:550mm / W:135mm ; 9.4kg
C. 618 - 907 AD. Chinese Tang Dynasty. An exquisite set of two ceramic female polo players. These two ceramics show two women in the midst of a polo match. Both with in arm bent over their horse's neck as though holding the reins. The woman dressed in green has her mallet arm extended as though to strike the ball, whilst the woman dressed in orange has her mallet arm at a 90 degree angle, a pose often adopted during play to allow the rider to rest the mallet against the shoulder keeping their animal's legs clear. Both women ride with their black hair in an updo, full makeup with pale faces and cheeks heavily rouged though the differing colour tunics indicate that they are from opposing teams. Both horses, one cream and one chestnut have their legs extended in a pose indicating that they are moving at a gallop. Their equipment is carefully modelled and painted. Their nostrils and ears are also accented in red. The saddle blankets stand out with their colourful motifs. Polo was extremely popular during the Tang Dynasty, and many of the emperors of the period were avid fans who not only played themselves, but also encouraged officials, soldiers, civilians, and even ladies of status, such as the court ladies, to play. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:Without stands, set of 2: 360 mm / W:540mm ; 11.6kg
100-300 AD. Gandharan. A grey schist figure of a seated Buddha. He is depicted wearing a flowing robe and a topknot (ushnisha). He is characterised by his arched brow, heavily lidded, half-closed eyes, a bulbous nose, full lips, rounded chin and large, pendulous ears. He is flanked by two small figures. He sit atop a decorated pedestal, in the shape of a lotus, and is backed by a circular halo. His hands are arranged in his lap, upturned with one hand lying over the other. This is gesture is the Dhyana mudra or the gesture of meditation, of concentration on the Good law, and of the attainment of spiritual perfection. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets. Size: L:310mm / W:210mm ; 6.4kg
100-300 AD. Gandharan. A grey schist torso of a Buddha. He is depicted wearing a flowing robe and a topknot (ushnisha). He is characterised by his arched brow, heavily lidded, half-closed eyes, a bulbous nose, full lips, rounded chin and large, pendulous ears. He is backed by a circular halo. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent (modern north-west Pakistan and South-east Afghanistan). The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure belongs, was the golden age of artistic production in the area. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1990s on the UK / International art markets. Size: L:340mm / W:270mm ; 10.5kg
100-300 AD. Gandharan. Schist figure of a two- faced Buddha atop a lotus. Buddha, backed by a halo, gazing serenely into the distance. He is dressed in an elegant sanghati or mantle and wears elaborate jewellery, including a beaded necklace, armbands and bracelets, reflecting his spiritual wealth. The Buddha sits cross-legged with both hands in front of him. This gesture, known as the Dhyana Mudra, is considered to symbolise wisdom in the Buddhist tradition. The Buddha used the Dhyana Mudra during his final meditation, during which he attained enlightenment. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this stucco figure belongs, was the golden age of artistic production in the area. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in before 2000 on the UK / International art markets. Size: L:370mm / W:165mm ; 7.5kg
100-300 AD. Gandharan. An amazing large Gandhara panel made of grey schist stone; with the representation of Buddha and his followers. The Buddha at center seated below an arch in a teaching pose upon a pedestal with his right arm raised. His face is turned towards two bowing figures. He is flanked by adoring attendant figures dressed in robes with finely incised folds, all within a pointed arch with two rows of figures walking towards a central seated figure. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in the 1980s on the UK / International art markets. Size: L:380mm / W:465mm ; 11kg
100-300 AD. Gandharan. Beautiful schist figure of a female figure, who stands on a lotus, gazing serenely into the distance. She wears an elaborate robe about the waist. She stands cross-legged with both hands in front of her. This gesture, known as the Dhyana Mudra, is considered to symbolise wisdom in the Buddhist tradition. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this stucco figure belongs, was the golden age of artistic production in the area. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in before 2000 on the UK / International art markets. Size: L:410mm / W:130mm ; 6.3kg
100-300 AD. Gandharan. A huge grey schist figure of a standing Buddha figure. This excellent figure is backed by a circular halo and dressed in a flowing Kasaya (monastic robe). The head features thick, rich lips, an aquiline nose, half-closed eyes with well-defined eyelids, arched brows, an urna on the forehead, prominent ears and carefully modeled, wavy hair, culminating in an ushnisha. The figure stands atop a rectangular base. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Provenance: Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection since the 1970s. Size: L:1120mm / W:365mm ; 60k+g
100-300 AD. Gandharan. A grey-brown schist relief panel bearing Buddhist scenes arranged over two register. Upper register: Buddha, identifiable by his characteristic topknot and large, pendulous ears, stands at the centre, wearing a flowing Kasaya (monastic robe). His hands are arranged as if for the Vitarka Mudra (the Mudra of Teaching or Discussion), a common mudra representing the discussion and transmission of Buddhist teachings. This Mudra is formed by joining the tips of the right thumb and index finger together to form a circle, keeping the other three fingers pointing straight up, and holding the hand outwards (we can infer this mudra from the arm positioning, even where hands do not survive). He is flanked by two robed attendants or worshippers on each side. These figures stand atop a rectangular plinth decorated with geometric motifs. Lower register: partially preserved and unidentifiable Buddhist scenes. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this schist figure belongs, was the golden age of artistic production in the area. For further information on Gandharan art, see Jongeward, D. 2019, Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford, Oxford University Press. Good condition. Provenance: Property of a Middlesex collector; acquired on the London art market before 2000; formerly in an old English collection since the 1970s. Size: L:With stand: 480mm / W:305mm ; 17.2kg
C. 618 - 907 AD. Chinese Tang Dynasty. A large and rare ceramic figurine of a Bactrian camel, also known as a Mongolian camel. The beast features a sandy pelt, while its characteristic mane, beard and the air of its upper legs are picked out in dark brown. The forelegs are bent on the ground as if the animal is waiting for its rider to arrive. The head is slightly turned and the mouth open as if bellowing. Atop its back is a saddle-pad with carefully delineated details. The Bactrian camel is an exceptionally hardy beast of burden, easily able to cope in the harsh deserts of Central Asia which border China. The domestication of these creatures allowed the development of the ancient Silk Road, which transported people, ideas and luxury goods between China and the West, by crossing the massive and inhospitable terrain which divided them. This beautiful figurine probably reflects medieval Chinese respect for a beast without which such trade would not have been possible. The Tang dynasty ruled most of China between AD 618 and 907, and this period is widely viewed as an era of progress and stability, during which many scientific and artistic advances were made. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:320mm / W:340mm ; 4.9kg
C. 386-534 AD. Northern Wei Dynasty. A painted stone panel/stela featuring a painted Buddha flanked by two figures. The Buddha stands facing towards, smiling, with his right hand raised. This gesture, known as the Abhaya Mudra symbolises fearlessness. It shows the stage of the Buddha's life immediately after he achieved enlightenment. The Buddha's robes are carefully picked out in red, he is backed by a circular red halo, his hair is painted jet black. The same goes for the two flanking figures. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:500mm / W:340mm ; 32kg
100-300 AD. Gandharan. Stunning carved schist stone panel fromGandhara representing Buddha and four attendees. Buddha is presented standing on the right, dressedin an elegant sanghati or mantle, backed by a halo. It is noteworthy that threeof the four attendees have clearly foreign features. The tree under which theBuddha reached enlightenment marks the top of the composition. It had beenunder worship by local villagers, for it was known to be the residence of anature divinity, who here emerges from the tree and altar to praise the Buddha.Gandhara was an ancient region in the Peshawar basin in the north-west of theancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art,to which this figure belongs, was the golden age of artistic production in thearea. Provenance: From an important private London Collection (H.G); previously acquired in Paris in 2006. Formerly in the collection of Alain Kottlar since 1960s. Size: L:950mm / W:580mm ; 50k+g
100-300 AD. Gandharan. Schist figure of a bodhisattva, backed by a halo, who stands, gazing serenely into the distance. He is dressed in an elegant sanghati or mantle and wears elaborate jewellery, including a beaded necklace, armbands and bracelets, reflecting his spiritual wealth. His identity as a bodhisattva is established by the presence of an incised urna on his forehead, perhaps originally ornamented with a jewel. Together, these details create a majestic impression of a bodhisattva or individual who is able to reach nirvana (enlightenment) but delays doing so through compassion for suffering beings. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this figure example belongs, was the golden age of artistic production in the area. Provenance: From the private collection of an Oxford gentleman; previously in an old British collection, formed in before 2000 on the UK / International art markets. Size: L:800mm / W:240mm ; 32kg
C. AD 618-907. Tang Dynasty. Large stone head of Buddha with carefully modeled hair that allows us to distinguish individual curls. His heavily-lidded eyes are closed as well as his lips. A rounded, double chin and prominent, pendulous ears are characteristic of Buddha in Chinese art. Buddhism entered China as early as the Han Dynasty (late 3rd century BC-early 3rd century AD), and has played an important part in shaping the country's art, politics, literature and philosophy. This exceptional piece embodies the importance of Buddha to Chinese culture and reflects the enormous amount of work invested by Tang craftsmen. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:with stand: 780mm / W:380mm ; 50k+g
C. 386-534 AD. Chinese Northern Wei Dynasty. Terracotta Horse. An elegant hollow-moulded terracotta horse. This horse is modelled in a standing pose with its neck elegantly arched and its ears pricked forward attentively. Taken together with the elaborate trappings which are modelled in great, this terracotta may represent a horse fitted out for the parade. The head is well modelled with mouth open and notched ears pricked either side of a feather ornament, with a tasselled rope looped around the top of the neck and tufted ornaments on the chest collar, the back is covered with a long cloth gathered at the bottom atop the flaring mudguard. Traces of green and red pigment and gold foil are still visible. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with a full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:440mm / W:300mm ; 3.9kg
100-300 AD. Gandharan. Superb life-size schist head of Buddha, with characteristic topknot (Ushnisha) and elongated, pendular ears. His forehead is ornamented with a well-defined urna and his heavy-lidded eyes are half closed and combined with his noble nose, small, fine lips and prominent chin, create a noble, otherworldly impression. The back is rough and unfinished, suggesting this piece was originally placed in an architectural setting. Gandhara was an ancient region in the Peshawar basin in the north-west of the ancient Indian subcontinent. The Kushan period (c. 75-451 AD) of Gandharan art, to which this head belongs, was the golden age of artistic production in the area. Provenance: From an important private London Collection (H.G); previously acquired in Paris in 2006. Formerly in the collection of Alain Kottlar since 1960s. Size: L:with stand: 480mm / W:240mm ; 31kg
Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated bronze mirror. The small fluted loop is framed by a concave square border from which four heart-shaped leaves radiate, each supporting short straight stems terminating in further leaves, divided by four large grooved 'T' motifs converging from the raised rim, all on a fine ground of hooks, wings and feathers. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:190mm / W:190mm ; 810g
C. AD 618-907. Tang Dynasty. Astonishing flower shaped bronze mirror. The center showcases an interesting scene with mythical creatures running around on either side of the perforated central lug. The rim is also finely decorated. The octofoil shape of this mirror is typical of the Tang Dynasty. Centre suspension lugs, a chord would have been wound through this hole to serve as a handle. The Chinese magic mirror is an ancient art that can be traced back to the Chinese Han dynasty (206 BC-24 AD). The mirrors were made out of solid bronze. The front is a shiny polished surface and could be used as a mirror, while the back has a design cast in the bronze. When bright sunlight or other bright light reflects onto the mirror, the mirror seems to become transparent. If that light is reflected from the mirror towards a wall, the pattern on the back of the mirror is then projected onto the wall. They were used not only as functional artifacts, but also as sacred objects. The Chinese believed mirrors not only reflected light, but also had the ability to radiate it and thus illuminate the tomb for eternity. Often multiple mirrors were entombed close to the body of the deceased. They were also considered powerful talismans that would let you see into the spirit world. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:185mm / W:184mm ; 820g
Ca. 206 BC - 220 AD. Han dynasty. Beautiful decorated square bronze mirror. Square shape with decorated rim enclosing the main field, which is decorated with geometric patterns. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay molds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:170mm / W:170mm ; 780g
Ca. 206 BC - 220 AD. Han dynasty. Bronze Mirror decorated with facing dragon and other animals. The central hemispherical boss framed by a concave square frame set with seven small bosses alternating with animal figures, the broad rim is decorated with a linear relief. The Han Dynasty, which ruled between 202 BC-220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. As early as 2000 B.C., bronze technology was highly developed in China, and objects made from this alloy of copper, tin, and lead were considered luxury items, reserved for the aristocratic class. Among these coveted pieces were small bronze mirrors. Usually cast from clay moulds, they were highly polished on one side, offering a reflective surface, while the other side was decorated with intricate patterns and designs that reveal an astonishing level of skill and artistry in their craftsmanship. Birds, dragons, and serpents were common motifs in the earliest mirrors. Later, more sophisticated and intricate designs included mythological figures, deities, animals of the Chinese zodiac, abstract patterns, background textures, inscriptions, enamelwork, and inlays of jade, turquoise, and mother-of-pearl. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:180mm / W:180mm ; 800g
An elongated shape agate bead pendant with applied gold fittings on both terminals, decorated with filigree depicting floral scroll motifs. The bead design suggests the origin of the “Dzi bead”. Although the geographic origin is uncertain, it is accepted that they are now generally known as “Tibetan beads”. The Dzi are stone beads worn as part of a necklace or bracelet. Many Asian cultures around Tibet prize Dzi as protective amulets and for positive spiritual benefits. Artisans used agate as the base stone and then embellished the bead's lines and shapes using ancient methods that remain unknown. Treatments may have included darkening with plant sugars and heat, bleaching and white line etching with natron, and protecting certain areas with grease, clay, wax or a similar substance. The number of "eyes" (circular designs on the stone), is considered to be significant. This bead displays the attractive repetitive symmetrical “nine-eyed” pattern. The item will be accompanied by a Gemmological report issued by an independent professional Gemmologist. Very Good Condition; Size: Size: L:55mm / W:16mm ; 19.5g; Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed before 2000 on the UK / International art markets.
A round shape cabochon agate chalcedony gemstone, set in a gold triangular-edge frame decorated with repetitive triangle shape millegrain. The gemstone displays a natural pleasing pattern featuring layers of white, reddish-brown, yellowish-brown colours and orangy-yellow natural “dots” of colour. The item will be accompanied by a Gemmological report issued by an independent professional Gemmologist. Very Good Condition, Size: Size: L:37mm / W:36mm ; 22.3g; Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed before 2000 on the UK / International art markets.
C. 206 BC - 220 AD. Han dynasty, A hollow-formed terracotta rabbit figurine with a black pelt and coral-pink pigmentation on the nose and in the inner ears. The rabbit is depicted sitting on all fours as if at rest. In the Chinese tradition, the rabbit is the luckiest of animals and symbolizes elegance, beauty and mercy. The Han Dynasty, which ruled between 202 BC -220 AD, brought great prosperity and stability to China, reigning over a golden age of classical Chinese civilisation during which China saw major advances including the widespread development of a monetary economy and the invention of paper, as well as much progress in the decorative arts. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:170mm / W:270mm ; 2.6kg
This beautiful Blue and White Wanli Porcelain Jar comprise a globular body and a wide neck. The body is finely decorated with two five-clawed dragons and an intricate design of floral scrolls; all IS beautifully painted in different tones of cobalt blue, the foot is embellished with waves and rocks. The scene is surrounded by the patterns of the traditional clouds. In Chinese mythology, Dragons, ultimate symbols of the four elements, are believed to generate clouds from their breath and they are often surrounded by them, representing the celestial realm. A fantastic example of Chinese craftsmanship! Very Good Condition; Size: L:530mm / W:430mm; 26.15kg Provenance: From an Old Somerset Collection formed between 1980-2000; formerly acquired in the UK and European Art Market.
C. 386-534 AD. Northern Wei Dynasty. A brick featuring four painted Buddhas within an arched recess. All four Buddhas are wear red robes, and sit cross legged atop a dark-coloured carpet, and against a dark background. All four hold their hands resting in their laps. This is the Dhyana Mudra, or gesture of Dhyana, which symbolises wisdom. The Buddha used this gesture during his final meditation just before he attained enlightenment. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of a religious nature, as this brick exemplifies. Provenance: Private London collection, formed in the 1970s on the UK and European art market. Size: L:180mm / W:355mm ; 6.8kg
Ca. 960-1234 AD Three very nice Chinese Song Dynasty Terracotta Brick decorated with floral motifs.The Song Dynasty, which ruled most of China between 960 and 1279 AD, was responsible for many innovations, including the first banknotes (paper money), as well as in the fine arts. Provenance: Private London collection, formed in the 1970s on the UK and European art market. Size: L:set of 3: 145mm / W:270mm ; 6.6kg
C. 386-534 AD. Chinese Northern Wei Dynasty. A terracotta brick in a cream-coloured fabric featuring a beautiful depiction of a seated buddha with a red robe, black hair and green halo. The figure has a raised right hand, with the palm facing outwards and the fingers upwards while the left arm is held close to the body. This gesture, known as the Abhaya Mudra symbolises wisdom and fearlessness. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of which relate to Buddhist religion, as this object exemplifies. Provenance: Private London collection, formed in the 1970s on the UK and European art market. Size: L:335mm / W:170mm ; 3.6kg
C. 618 - 907 AD. Chinese Tang Dynasty. An unusual and beautiful moulded figure of a horse and its rider. The horse is modelled in a standing pose on a square base. The animal's neck is slightly turned to the left, with its ears pricked forward attentively. The muscles are rendered in great detail on the neck and hindquarters. The tail is depicted docked and bound in the traditional fashion. The rider wears a traditional gown. Particularly noteworthy is his headdress in the shape of a peacock. In his left hand he is holding a small bird. In China peacocks were symbols of culture and enlightenment and can be found in literature dating back to the Han dynasty. In the Tang dynasty, peacock feathers were apparently bestowed on both civil and military officials as marks of imperial favour, rewarding faithful service. This piece has been precisely dated having undergone Thermo Luminescence analysis by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. Its TL certificate with full report will also accompany this lot. Provenance: Private London collection of Asian Art; formerly in an old British collection. Acquired in Hong Kong in the early 1990s. Size: L:620mm / W:460mm ; 8.2kg
C. AD 618 and 907. Tang Dynasty. A delicate Tang Dynasty lady wearing long flowing gowns with overlength sleeves which hide her hands. It appears she is playing the drum. Her shoulders are covered with an orange drapery. The lady herself is carefully modeled, with an elaborate double-bun hairstyle, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1990s on the UK / International art markets. Size: L:300mm / W:85mm ; 850g
c. 1271-1368. Yuan dynasty. The elegant standing figure wearing a green dress draped around her shoulders, holding an unidentified object, perhaps a scroll, in front of him. The figure is carefully modeled, with the hair done up and a striking, detailed face. Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1990s on the UK / International art markets. Size: L:270mm / W:75mm ; 500g
Ca. 1368-1644 AD. Ming Dynasty. Ceramic Horse with Rider. An elegant ceramic figurine depicting a grey horse in a standing pose with its neck stretching forward and its tail loose, over one hindquarter. The horse's trappings, including the bridle and breastplate, saddle blanket, and breeching are molded in the round and coloured in dark green. The rider is shown dressed in period-typical garb with the tunic painted orange and blue, holding a green vessel. Horses were an important status symbol in ancient China. These animals were brought to China via the Silk Road and were considered a luxury good. As such horses were a sign of wealth among the elite, and there were strict laws that restricted the ownership of horses to people of elevated rank. In fact, soldiers serving in China's military had to provide their own mounts indicating that only the richest members of society could serve in the cavalry. This exceptionally well-preserved terracotta is part of a long tradition of horse statuettes in China, and in fact, the earliest known example of a stirrup, today a mainstay of equestrianism, was found on another Chinese statue of a horse from Hunan province, dated to AD 302. Provenance:Provenance: From an old British collection formed in the 1990s, formerly acquired in the UK and European Art Market.; Size: L:335mm / W:280mm ; 2.2kg
C. AD 618 and 907. Tang Dynasty. A delicate Tang Dynasty dancer wearing long flowing gowns with her hands uncovered. The dress is a deep orange, whilst the waist sash which separates the skirt from the bodice is of a lighter colour. Her upper body is slightly bent to the side, with her left arm up in the air, indicating motion. The dancer herself is carefully modelled, with her hair done up, pink cheeks, red pursed lips, delicate brows and smiling eyes. Dance as an art form reached its peak in China during the Tang Dynasty, which is now known as the golden age of Chinese music and dance. Indeed, during this time The Great Music Bureau was created as a means through with to train musicians and dancers for the imperial court. Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed before 2000 on the UK / International art markets. Size: L:305mm / W:155mm ; 850g
C. AD 618-907. Tang Dynasty. A terracotta head of a court employee with a calm expression denoted by a prominent nose, round chin and smiling lips. Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed before 2000 on the UK / International art markets. Size: L:210mm / W:145mm ; 1.7kg
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured bowl with 5 black painted running ibexes. The centre shows a five-pointed star with a flower motif. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. The ibex is one of the most popular zoomorphic motifs present in the Indus Valley production. Provenance: From an old British collection, acquired on the UK art market in the 1990s. Size: L:85mm / W:222mm ; 700g
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured bowl decorated with black concentric circles showing geometric patterns. The outer wall is decorated with asymmetric notches. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel Provenance: From an old British collection, acquired on the UK art market in the 1990s. Size: L:130mm / W:350mm ; 1.9kg
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured hemispherical bowl with high foot and black painted fowl design. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. The ibex is one of the most popular zoomorphic motifs present in the Indus Valley production. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s. Size: L:210mm / W:370mm ; 2.3kg
C. 3rd millennium BC. Indus Valley Civilisation. Beautiful terracotta coloured hemispherical bowl with high foot and black painted design. The outside wall is decorated with 4 felines with protruding tongues, walking forward. The neck shows geometric patterns. The Indus Valley Civilisation was an important Bronze Age culture which arose in c. 3300 BC and lasted until c. 1300, though its heyday, to which these kind of ceramic vessels belong, was in the 3rd millennium BC. Large numbers of ceramic vessels decorated with black slip have been found among the sophisticated urban settlements of South Asia's protohistoric Indus Valley civilization. The walls of this jar are so thin that it must have been created on a potter's wheel. The ibex is one of the most popular zoomorphic motifs present in the Indus Valley production. Provenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1990s. Size: L:150mm / W:275mm ; 2.1kg
C.3000-2000 BC. Bactrian. Beautiful, large alabaster vessel with amber-coloured slip and dark bands swirling around its body. Clearly, the craftsman knew how to take advantage of the swirling bands of colour of the alabaster to give a sense of movement as a decorative element on the vessel. The shoulder are presented with knobs and topped with a flared rim. Alabaster was a precious material, widely traded in the region from the 4th millennium BCE onward.The purpose of such a vessel is not known. Pieces like this one often came from burials and votive offerings. Along with others that make up the typology of stone vessels, together with the well-known column or circular idols, these are all characteristic of the Bactrian material culture. This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kings. Provenance: From the important collection of a London doctor A.R; passed by descent to his son; formerly acquired before 2000 on the UK art market. Size: L:200mm / W:165mm ; 3.9g
C. 3000-2000 BC. Bactrian. A large and impressive stone jar with a lid. The vessel has a round flat body and the lid shows traces of incisions, probably intended as a decorative element by the maker. Bactrian vessels were commonly made from this grey stone, made of a type of stone widely available in Oman that was traded north through Arabia, the Gulf, Iran, Baluchistan, and Pakistan. Archaeologists believe that these objects were traded not just as vessels, but for what they held.This piece relates to an ancient culture referred to both as the Bactria-Margiana Archaeological Complex (BCAM) or as the Oxus Civilisation. The Bactria-Margiana culture spread across an area encompassing the modern nations of Turkmenistan, Tajikistan, Uzbekistan and Northern Afghanistan. Flourishing between about 2100 and 1700 BC, it was contemporary with the European Bronze Age, and was characterised by monumental architecture, social complexity and extremely distinctive cultural artefacts that vanish from the record a few centuries after they first appear. Pictographs on seals have been argued to indicate an independently-developed writing system.It was one of many economic and social entities in the vicinity, and was a powerful country due to the exceptional fertility and wealth of its agricultural lands. This in turn gave rise to a complex and multifaceted set of societies with specialist craftsmen who produced luxury materials such as this for the ruling and aristocratic elites. Trade appears to have been important, as Bactrian artefacts appear all over the Persian Gulf as well as in the Iranian Plateau and the Indus Valley. For this reason, the area was fought over from deep prehistory until the Mediaeval period, by the armies of Asia Minor, Greece (Macedonia), India and the Arab States, amongst others.Through local stone carvers inhabiting the regions of Margiana and Bactria experienced no shortage in material; the main raw material was soft steatite or a dark soapstone, but also various kinds of marble and white-veined alabaster. The main source for these stones, including semi- precious lapis-lazuli, was in Bactria, at Badakhshan in north-western Afghanistan, which provided material not only for the Bactrian and Margian carvers but also farther to the west into Mesopotamia, for the Assyrian kingsProvenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:80mm / W:145mm ; 800g
c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle, decorated with a low relief of flowers on the shoulder. The neck and bottom are decorated with geometric patterns. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:290mm / W:230mm ; 1.2kg
c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle, decorated with a low relief of geometric patterns. The neck is shaped in asymmetrical waves. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:195mm / W:135mm ; 400g
c.10th-12th century AD. Seljuk. Beautiful Medieval Seljuk terracotta pouring jug with handle and spout. The body is decorated with a low relief of geometric patterns. The neck is topped with a lid. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:125mm / W:100mm ; 300g
c.10th-12th century AD. Seljuk. Bronze lamp from the Seljuk Empire with a hinged lid and a joined loop handle. The body is incised with various Islamic motifs and symbols. The Seljuks were a Turkic dynasty of Central Asian nomadic origins. Having defeated the Ghaznavids in the eleventh century they took over Baghdad in 1055 A.D. At one point the empire stretched across Iran, Iraq and much of Anatolia, which led to the creation of countless works of art. By the end of the eleventh century however dynastic disputes led to the division of these lands. The main branch- the so-called Great Seljuks- maintained control over Iran. This was a golden age for Islamic art typified by innovation and experimentation. In metalwork one of the most important developments was the practice of inlaying bronze or brass objects with precious metals such as copper, silver or gold. Bronze casting flourished and famous workshops were established in Khorasan and the surrounding area. Provenance: From an old British collection of Asian Art formed in the 1990 on the UK and European art market. Size: L:120mm / W:125mm ; 300g
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