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Großes Thangka mit Tsongkhapa und Buddha Shakyamuni in Montierung TIBET, 19.Jh. 75 x 129 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Etwas berieben, Altersspuren, Montierung mit kleinen Altersschäden A FINE AND LARGE THANGKA DEPICTING TSONGKHAPA, TIBET, 19th ct., the centre of the painting depicting Tsongkhapa seated in vajrasana on a lotus base placed on a throne, both hands in dharmacakramudra holding stems of lotus flowers supporting the sword and manuscript, wearing a monastic garb and specific bonnet, flanked to his right by Buddha Shakyamuni showing the bhumisparshamudra with his right hand while the left is supporting the alms-bowl and to his left a lama seated astride the white elephant holding lotus stems in his hands supporting a sword and manuscript, all three surrounded by various Buddhas, bodhisattvas, tutelary and protective gods, the upper section with mahasiddhas flanking a pavilion and the lower border with various protective deities - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor wear, traces of age, mounting with minor damages

Yamantaka - der dem Yama ein Ende setzt TIBET, spätes 18. Jh. 59 x 43 cm Vajrabhairava ist eine der wichtigsten Meditationsgottheiten im tibetischen Buddhismus, dem eineigenes Tantra aus der Klasse der "höchsten Tantras" - das Anuttaratantra - zugeteilt ist. Aber auch als mächtige Schutzgottheit, wird er verehrt. Als Yamantaka, "der dem Yama ein Ende setzt" kämpft er gegen alle widerstrebenden Kräfte und gegen die Feinde der Religion. In dieser Gestalt ist er eine aktive Form des Manjushri, des Bodhisattva der Weisheit, der sich in eine stierköpfige Gestalt mit neun Köpfen und vielen Gliedmaßen verwandelte, um den rasend gewordenen Yama zu überwinden und ihn als Schützer des Dharma einzusetzen. Die Furcht einflößende Erscheinung Vajrabhairavas, des Überwinders des Todes, und gleichzeitig der Wiedergeburt - in dem er die Unwissenheit, die Ursache des ständigen Verharrens im Kreislauf der Wiedergeburten bekämpft, ist neungesichtig, mit vierunddreißig Armen und sechzehn Beinen. Er sieht furchterregend aus um die Feinde des Dharma abzuwehren. Der unermessliche Zorn der Gottheiten richtet sich nicht gegen den Betrachter oder Meditierenden, sondern gegen dessen Unwissenheit und Hindernisse. In diesem Sinne trägt der elfköpfige Avalokiteshvara, als vorletzten seiner elf Köpfe, ein zornvolles Gesicht, eingedenk seiner Erkenntnis, dass gegebenenfalls eine andere Energieform notwendig ist um die Achtsamkeit zu erhöhen. Gleichwie eine Mutter und ein Vater im Zorn ihr Kind zur Aufmerksam ermahnen. Dies geschieht jedoch auf der Basis von Mitgefühl und fürsorgender Liebe zur Weiterentwicklung. Das friedliche Gesicht an der Spitze, das Gesicht des Manjushri, zeugt von seiner inneren Geistesruhe, trotz seines rasenden Zornesausbruchs. Yamantakas Augen, Brauen und Bart flammen auf. Er überwältigt selbst die schrecklichsten Gottheiten. Seine Stimme gleicht dem Rollen des Donners. Die Kronen seiner Häupter bilden jeweils fünf weiße, ausgebleichte Menschenschädel. Von seinem Hals herabhängend trägt er eine Girlande aus vierundfünfzig frisch abgetrennten Menschenköpfen, zum Zeichen der Überwindung der Leidenschaften. Er ist von gewaltiger Statur, sein Bauch ist groß, und seine Nacktheit zeigt, dass alle Dinge ungeboren bleiben. Sein Penis ist stets erigiert und bedeutet die Verbundenheit mit der höchsten Seligkeit. Die linken Beine sind ausgestreckt, die rechten angewinkelt. Er trampelt auf einer Reihe von Menschen und Tieren herum, Sinnbild der von ihm überwundenen Feinde, als Symbole der Nicht-Substanz. Die Darstellungen, entsprechend der Ikonographie, unter den rechten Beinen sind: Mensch, Büffel, Elefant, Esel, Kamel, Hund, Schaf und Fuchs; unter den linken Beinen: Geier, Eule, Krähe, Papagei, Reiher, Hahn und Schwan. Die vierunddreißig Arme und die Attribute in deren Händen sind Symbole der vierunddreißig Erleuchtungsbestandteile: (rechts) Elefantenhaut, Elefantenhaken, Wurfpfeil, Totenkopfkeule, Mörserstößel,magischer Stab, Phur-ba, Blitz, Wurfspieß, Diamantszepter, Diamantaxt, Diamanthammer, Muschellanze, Schwert, Speer, Doppeltrommel, Hackmesser; (links) Elefantenhaut, Menschenhand, Brahmakopf, Schleiertuch, Rad, gepfählter Menschenkörper, Menschenbein, Herd mit Glut, Fangschlinge, menschliches Skalp, Kampfbogen, Menschenhand, Gedärm, Stab mit Bändern, Glocke, Fächer, Schädelschale. All diese Symbole stehen sinnbildlich für Waffen und Hilfsmittel der Gottheit zur Überwindung von Hindernissen der Meditierenden auf deren Weg zur Erleuchtung. (Die einzelnen Attribute und Darstellungen unter den Beinen, sind einem ikongraphischen Beschreibungstext entnommen und können von dieser Darstellung abweichen). Tempera und Gold auf Baumwollgewebe, kaschiert auf Hartfaserplatte. Provenienz: Aus einer alten deutschen Privatsammlung, zwischen 1968 und 2005 großteils von Schoettle Ostasiatica und Joachim Baader, München erworben - Publ. Thangka Kalender 2013, März, Windpferd Verlag, Oberstdorf, Dez. 2012, Text von Dr. Olaf Czaja - Berieben A THANKGA OF YAMANTAKA, Tibet, late 18th ct., mounted on board. Depicted here as Yamantaka, "who ends the Yama", Vajrabhairava is one of the most important meditation deities in Tibetan Buddhism. He is nine-faced, with thirty-four arms and sixteen legs, looking terrifying in order to ward off the Dharma's enemies, with the peaceful face of Manjushri at the top, testifying his inner peace of mind, the crowns on his multiple heads made of five white human skulls, with a festoon of twenty-four severed human heads hanging from his neck, of massive stature, trampling on several humans and animals, the thirty-four attributes in his hands all symbolise the thirty-four elements of enlightenment, such as elephant skin, throwing arrow, phur-ba, diamond sceptre etc. - Property from an important South German private collection, assembled between 1968 and 2005 mostly from Schoettle East Asian Art and Joachim Baader, Munich - Publ. Thangka Calender 2013, March, Wisdom, Dec. 2012, Description by Dr. Olaf Czaja - Wear

Thangka mit Darstellung des Ekadashalokeshvara mit Brokatmontierung TIBET, 18./19.Jh. 62,5x42,5 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, zwischen 1968 und 1972 bei Schoettle Ostasiatica erworben A THANGKA DEPICTING EKADASHALOKESHVARA, TIBET, 18th/19th ct., standing samabhanga on a lotus-base, his principle hands in anjalimudra while the others radiate around his body. his head consisting of eleven faces with one of Buddha at the top, halo behind, the lower section with Manjushri and Vajrapani, each holding a lotus supporting the sword placed on a manuscript respectively the vajra, an offering-set at the front and all placed in a mountainous landscape, in brocade mounting - Property from an old German private collection, bought from Schoettle East Asian Art between 1968 and 1972

Phurbu aus Eisen und Bronze TIBET, ca. 18. Jh. L. 23,7 cm Provenienz: Aus einer bedeutenden süddeutschen Privatsammlung, grossteils bei Schoettle Asiatica und Joachim Baader, München, zwischen 1968 und 2005 erworben - Etwas berieben. Los wird ohne Holzsockel angeboten A BRONZE AND IRON PHURBU, TIBET, ca. 18th ct., the central grip cast with two bands of lotus petals between two endless knob emblems, with below a makara-head issuing the triangular blade, the phurbu topped with a three heads of a krodha figure and each face with wrathful expression - Property from an important South German private collection, assembled between 1968 and 2005 mostly from Schoettle East Asian Art and Joachim Baader, Munich - Minor wear. Wood base does not belong to the lot

Feine feuervergoldete Bronze des Weito auf einem Holzsockel CHINA, Ming-Dynastie H. 32,2 cm o. S. Provenienz: Aus der Sammlung von Prof. Dr. med., Dr. phil. Hermann Schroeder (1902-1991) und seiner Familie - Vergoldung mit kleineren Abrieben, wenige sehr kleine Bestoßungen A FINE GILT-BRONZE FIGURE OF WEITO, China, Ming dynasty, on wood stand. Standing in a martial posture, his right hand supporting a lance while the right is showing the abhayamudra, wearing armour, tunic with flaring sleeves, scarf floating around his shoulders, his face displaying a severe expression with slit eyes below arched eyebrows running into his nose-bridge and his head topped with a helmet decorated with a bird-head to the front - Property from the collection of Prof. Dr med., Dr phil. Hermann Schroeder (1902-1991) and his family - Compare to a similarly cast gilt-bronze guardian figure of Vaisravana, identified by the tower held in his left hand, in the Nelson-Atkins Museum of Art, purchased by the Asian Art Acquisition Fund in memory of Laurence Sickman and illustrated in Masterworks of Chinese Art, pp. 86-7, where it is dated Yuan dynasty - Minor wear to gilding, very slightly chipped

Sehr seltener Balkenbehang aus Seide und Brokatstoffen mit unterschiedlichen Buddhas TIBET, Qing-Dynastie 95 x 275 cm Applikation, Seidensatin, Brokatseide. Ein breites vierfach zusammengesetztes Band aus unterschiedlichen Brokatstoffen hält das herabhängende Gitterwerk aus in Form geschnittenen, mit feinen Seidenkordeln eingefassten Schmuckelementen verschiedenfarbiger Seidenstoffe. Diese setzen sich zusammen aus Blätter- und Blütenranken, stilisierten Juwelen, und Glückssymbolen. Inmitten des üppigen Rankenwerks befinden sich drei Emanationen des Buddha, möglicherweise aus der Gruppe der insgesamt Acht Medizinbuddhas. Zweifellos handelt es sich bei diesem Behang um kein Einzelstück sondern um einen Teil eines größeren Arrangements bei dem die restlichen fünf Buddhadarstellungen eingearbeitet sind. Bei den verwendeten Seidenstoffen handelt es sich um Seidensatin, Brokate und broschierte Seidenstoffe, die teilweise wohl ein höheres Alter als der Behang selbst aufweisen. Solche Zierbehänge sind meist in Demut und Verehrung der Gottheiten angefertigte Klosterarbeiten, und oftmals auch Schenkungen zu Dank verpflichteter Spender. Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Publ. Michael Henss 'Buddhist Ritual Art Of Tibet', Stuttgart 2020, no. 416 - Zum Vergleich: Tibet - Klöster öffnen ihre Schatzkammern; Kulturstiftung Ruhr, Villa Hügel, Essen und München, 2006:127, Sothebys's New York, 16.9.1998, Lot 200 - Altersspuren A RARE ARCHITRAVE GARLAND, Tibet, Qing dynasty., the upper brocade panel decorated with various motifs, including a floral muster and dragons, from this panel hang down many sewn together velvet sections in the shape of jewels, flowers and Buddhist knots, encompassing three Buddha figures, each seated on a lotus base, the hands showing different gestures, clad in monastic robes, their faces displaying serene expressions and halo's behind, all sections are backed with cotton - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Publ. Michael Henss 'Buddhist Ritual Art Of Tibet', Stuttgart 2020, no. 416, cf. Sotheby's New York, 16.9.1998, lot 200 - Minor traces of age

Große Tanzmaske aus gefasstem Holz in Form einer Gottheit TIBET, ca. 19.Jh. H. 47 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Kleinere Alterssch. A POLYCHROME RITUAL DANCE MASK, Tibet, ca. 19th ct., the mask carved in the shape of a face of a divinity with protruding eyes below arched eyebrows running into the nose-bridge, pierced mouth, elongated earlobes and his hair secured with a five-leaf tiara - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor damages due to age

Große Bronze des Buddha Shakyamuni auf einem Lotos NEPAL, ca. 16.Jh. H. 41,5 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Partiell etwas rest. A BRONZE FIGURE OF BUDDHA SHAKYAMUNI, TIBET, ca. 16th ct., seated in vajrasana on a lotus-base with the vajra-emblem to the front, his right hand in bhumisparshamudra while the left is resting on his lap, wearing diaphanous cloak showing a small section in the shape of a swallow's tail draped over his left shoulder, his face displaying a serene expression with downcast eyes below arched eyebrows running into his nose-bridge, elongated earlobes and his blue coloured hair continuing in the ushnisha topped with a lotus-bud, sealed - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor restorations

Feuervergoldetes Yantra aus Bronze NEPAL, 17./18.Jh. H. 7,5 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Berieben, etwas verbogen A GILT-BRONZE YANTRA, NEPAL, 17th/18th ct., the circular base cast in the form of a ring surmounted by a star-shaped section supporting a lotus -flower topped with a yantra continuing in a lotus-flower supporting a plaque set with a star-shaped element - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Wear, slightly disformed

Feine Schnitzerei der Durga aus Elfenbein mit Inschrift NEPAL, ca. 18.Jh. 7,3 x 7 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Minim. bestoßen AN IVORY PLAQUE DEPICTING DURGA, NEPAL, ca. 18th ct., the square plaque depicting Durga standing in heroic posture on the lion and the demon rising from the bull's body, her eighteen arms radiating around her body, wearing sari, garland of skulls, bejewelled, her face displaying a severe expression, her hair secured with a tiara decorated with a pair of flags, flanked by a pair of attendants and the upper corners with each a vidyadhara, the reverse inscribed with mantras in Tibetan dBu.can script - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Very slightly chipped

Sehr grosser kugelförmiger Weihrauchbrenner auf drei drachenförmigen Beinen mit Fö-Löwen CHINA, 18. Jh. H. 155 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Teilweise etwas best. A VERY LARGE BRONZE CENSER WITH FOO-LION HANDLES ON THREE DRAGON-SHAPED LEGS, China, 18th ct. - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Partially chipped

Großes Seidentextil mit Drachendekor mit Randeinfassung CHINA, die Drachen-Textilien 18.Jh. 114(190)x97(169) Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Aus Teilen einer Robe zusammengefügt, berieben, Alterssch. A LARGE BLUE-GROUND DRAGON TEXTILE WITH LARGE BORDER, China, the dragon textile 18th ct., damask silk with woven patterns (lancée and brocading), combined with other silk fabrics, cotton fabric frame. The central part of the rectangular canopy was made from silk, which was intended for a courtly garment. Two large, four-clawed dragons are set into a quatrefoil frame surrounded by waves. The two animals were planned to decorate the chest and back of a robe, with the neck opening in the center. Here and in other places, such as the corners, smaller dragons were appliquéd, probably from the lower part of the very same robe. Missing parts were completed with fabric from other robes. An orange-red silk with an octagonal pattern (bada yun) and a green damask with a tendril pattern have been used for the frame. - Provenance: Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Wear, minor damages, made of several parts

Feines Appliqué-Thangka aus Seiden- und Brokatstoffen mit großer Yama-Darstellung TIBET, ca. 19.Jh. 200 x 143 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Kleinere Altersspuren A FINE APPLIQUE THANGKA DEPICTING YAMA, TIBET, ca. 19th ct., standing in pratyalidhasana on the bull reclining on a figure lying on a lotus base, his right hand is brandishing the khadga while the left the noose, ithyphallic, naked apart from a channavira and garland of severed heads, his bull-face displaying a wrathful expression with protruding snout, open eyes and a pair of horns, his flaming hair is secured with a tiara consisting of five skulls, flanked by his sister Yami who is offering him a skull nap filled with blood and holding a trishula, flaming halo behind, the lower section with three offerings in the form of skull naps filled with blood and the central one with various human organs - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Very minor traces of age

Feiner Phurbu aus Eisen und Bronze mit Holzstand TIBET, ca. 15./16.Jh. L. 30,3 cm o.S. Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Etwas berieben A BRASS AND IRON RITUAL DAGGER (PHURBU), TIBET, ca. 15th/16th ct., on stand, the dagger consisting of a triangular iron blade issued by an makara-head continuing into the grip shaped as a vajra, topped with a deity-head with three faces showing each a wrathful expression with bulging eyes, open mouth and the hair combed in a chignon secured with tiaras decorated with skulls - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor wear

Thangka mit Darstellung eines Mönches der Drukpa-Tradition BHUTAN, 19.Jh. 48 x 31 cm R. Provenienz: Aus einer alten süddeutschen Privatsammlung, vor 1980 bei Schoettle Ostasiatica in Stuttgart gesammelt - Berieben, Altersspuren A THANGKA OF A MONK OF THE DRUGPA TRADITION, Bhutan, 19th ct., framed under glass - Property from an old German private collection, assembled from Schoettle East Asian Art prior 1980 - Wear, traces of age

Drei polychrom gefasste Masken aus Holz oder Trockenlack TIBET, 19./20.Jh. H. 31-33 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Part. kleinere Alterssch., berieben, alte Rep.-Stellen A GROUP OF THREE PAINTED WOODEN OR DRY-LACQUER MASKS, Tibet, 19th/20th ct. - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Minor damages due to age, wear, old repairs

Seltenes Thangka des Padmasambhava BHUTAN, 18.Jh. 73 x 49 cm R. Thangka mit Darstellungen des Paradieses Zangdog Palri und dem Leben des Großen buddhistischen Meisters Padmasambhava. Tempera und Gold auf Baumwollgewebe, originale Seidensatin-Einfassung, unter Glas gerahmt. Provenienz: Aus einer alten süddeutschen Privatsammlung, vor 1980 bei Schoettle Ostasiatica in Stuttgart gesammelt - Berieben, Altersspuren A RARE THANGKA WITH SCENES OF THE PARADISE ZANGDOG PALRI AND OF THE LIFE OF PADMASAMBHAVA, Bhutan, 18th ct., silk mounts, framed under glass - Property from an old German private collection, assembled from Schoettle East Asian Art prior 1980 - Wear, traces of age

Feiner und seltener Mörser aus Elfenbein mit Drachen-Phönix-Dekor und Hasen CHINA, vermutlich Macao, 17.Jh. H. 11,7 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Vgl. Sir Victor Sassoon Chinese Ivories Trust Collection, T43, publ.'Chinese Ivories From The Shang To The Tang', Oriental Ceramic Society, 1984, S. 161, ill. 202 - Kurze Altersrisse A RARE CARVED IVORY MORTAR, the waisted vessel is carved to the exterior of its upper section with two writhing dragons on a ground of fire and cloud scrolls, a raised central band encircles the waist. The lower section is embellished with two phoenix and rabbits on a foliate ground - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - A comparable carved ivory mortar in the Sir Victor Sassoon Chinese Ivories Trust Collection, T43, is illustrated in Chinese Ivories From The Shang To The Tang, Oriental Ceramic Society, 1984, p. 161, ill.202 - A comparable mortar with pestle sold at Christie's London, 14 June 2001, lot 10 - Few short age cracks

Birnenförmige Bronzevase mit reliefierten Karpfen und Wasserpflanzen JAPAN, Siegelmarke, Meiji-Periode H. 33 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, zwischen 1968 und 1972 erworben - Etwas berieben A PEAR-SHAPED CARP AND WATER PLANTS BRONZE VASE, Japan, seal mark, Meiji period - Property from an old German private collection, mainly assembled in the 1970s and 80s from Schoettle East Asian Art in Stuttgart - Some wear

Blau-weiss dekorierte Kugelvase mit 'shuangxi'-Zeichen CHINA, 19. Jh. H. 42,7 cm Provenienz: Aus einer alten süddeutschen Privatsammlung, zwischen 1968 und 1972 erworben - Minim. berieben A BLUE AND WHITE 'SHUANGXI' BOTTLE VASE, China, 19th ct. - Property from an old German private collection, mainly assembled in the 1970s and 80s from Schoettle East Asian Art in Stuttgart - Minor wear

Großes Mandala mit Seidenmontierung TIBET, ca. 1900 140 x 100 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Etwas berieben, Altersspuren A LARGE MANDALA, silk mounts, Tibet, ca. 1900 - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 - Wear, traces of age

Zwei große Paneele von Behängen mit Kirtimukha-Masken aus Seide mit Brokat TIBET, 19.Jh. 63 x 84 cm Provenienz: Aus der Tibet- und Asien-Sammlung der Gebrüder Kienzle, Schwaben, zwischen 1965 und 1986 gesammelt - Vgl. Michael Henss 'Buddhist Ritual Art of Tibet', Stuttgart 2020, no. 415 - Berieben, kleine Altersschäden A PAIR OF RARE SILK AND BROCADE BANNER FINIALS, TIBET, 19th ct., both multi-coloured triangular-shaped altar ornaments with ondulating border, decorated to the front with each a kirttimukha showing bulging eyes below bushy eyebrows, open mouth, pair of hands, ears and horns, manes curling around his head, surrounded by scrolling tendrils and the reverse set with a red cotton cloth - Property from the Asian and Himalayan art collection of the brothers Kienzle, Swabia, assembled between 1965 and 1986 -Cf. Michael Henss 'Buddhist Ritual Art of Tibet', Stuttgart 2020, no. 415 - Wear, minor damages due to age

A JAPANESE KOMAI STYLE IRON MODEL OF A THREE-TIERED PAGODA MEIJI PERIOD, 19TH OR 20TH CENTURY Richly decorated in gold and silver nunome zogan, each tier with railings and doors opening to reveal one, two or three drawers, the lower tier decorated with dense patterns of vine leaves and with short flights of stairs on each side, the doors, sides and drawers decorated with complex patterns of mountainous river landscapes, flowers, ho-ho birds and phoenix, each corner with a small bell, the roof surmounted by a tall thin stupa, together with a fitted wooden stand raised on four feet, the frieze carved with openwork scrolls, 47.5cm overall. (8) Provenance: from an English private collection acquired in Asia c.1920 and thence by descent. Cf. J Earle, Splendors of Imperial Japan, Arts of the Meiji Period from the Khalili Collection, pp.86-87, no.37 for a comparable two-storey shrine by the Komai workshop. Also, see Asian Art, 15th November 2017, lot 788, for a comparable model of a three-tiered pagoda sold in these rooms.

A CHINESE DING WHITE GLAZED BOWL LATE TANG DYNASTY The shallow body rising from a short circular foot, with a raised lip encircling the rim, all decorated with a simple white glaze, the base shaped as a bi disc, with paper labels for Lally & Co and the Ronald W Longsdorf Collection, 15.7cm. Provenance: formerly the Ronald W Longsdorf Collection, no.911; and then J J Lally & Co, New York, no.X2251. Exhibited: J J Lally & Co, Early Chinese White Wares: The Ronald W Longsdorf Collection, New York, 11th September-3rd October 2015, catalogue no.9; and then The Crow Museum of Asian Art of The University of Texas at Dallas, Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles, Dallas, Texas, 17th September 2016-12th February 2017, and Museo Internacional del Barroco, Puebla, Mexico, 25th March-30th July 2017 as part of the same exhibition. Cf. The Complete Collection of Treasures of the Palace Museum: Porcelain of the Jin and Tang Dynasties, p.107, no.96 for a related Tang dynasty Ding ware bowl; see also The Palace Museum, Selection of Ding Ware: the Palace Museum's Collection and Archaeological Excavation, pp.60-61, no.16 for another comparable bowl; see also The Complete Works of Chinese Ceramics, vol.6, Tang, Five Dynasties, p.198, no.223 for a similar Five Dynasties bowl in the collection of the Palace Museum.晚唐  定窯撇口碗來源：Ronald W Longsdorf舊藏，編號911; 之後紐約J J Lally & Co，編號X2251.展覽：J J Lally & Co， 早期白釉器：紐約Ronald W Longsdorf收藏，2015年9月11日至10月3日。

Indonesia, Flores, 19th century or earlier. The pectoral of double axe-head form and finely decorated with gold wire and geometric elements on the lower edges.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of wear and age as well as soil encrustations.Weight: 6.2 gDimensions: Length 10 cmPublished: The Zelnik István Southeast Asian Gold Museum, page 217, Budapest 2013 (described as from Tanimbar). 

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting three Buddhas, one in the center seated in dhyanasana, showing the bhumisparsa mudra, and wearing a samghati draped over the left shoulder, flanked by two smaller Buddhas, each kneeling on a raised pedestal with their hands clasped together, all with calm expressions and subtle smiles, the figures within a shrine surmounted by a stupa and surrounded by foliate branches.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with few miniscule losses, minor traces of age and wear, as well as soil encrustations.Weight: 4.5 gDimensions: Size 8 x 5.7 cm 

Pyu city-states, 10th century. The small coins of circular shape and crafted from solid gold with fine repoussé showing Vedic symbols, including one with a dharmachakra and another with a mythical being, all with hooks on the reverse, likely added later, for use as buttons.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear. Fine copper red patina.Weight: 3.4 g (total)Dimensions: Diameter 1.2 cm (the largest) and 0.9 cm (the smallest)Literature comparison: Silver pyu coins are in the collections of the Metropolitan Museum of Art in New York, exhibited in Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century from 14 April 2014 to 27 July 2014, cat. 36A and 36B, as well as the British Museum, museum numbers 1983,0118.10 and 1884,0510.1. 

Champa, 10th-13th century. The richly decorated ring set with an oval garnet at the top and two small amethysts flanking the central stone, the ring band with fine repoussé showing recumbent elephants on the shoulder and scrolling designs as well as small gold beads at the top. Not only is the elephant the mount of the Hindu god Indra – elephant heads were also a very common architectural ornament in Cham architecture and consequently a beloved design motif in Cham jewelry.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear as well as soil encrustations, the central stone with some natural inclusions.Weight: 10.1 gDimensions: Size 3.1 x 3.1 cm, Inner Diameter 2.5 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 32 (page 107), Budapest 2008.Assay data: Gold 67-68 %, Silver 30-31 % (traces of copper and zinc).Literature comparison: A similar piece is published in The Zelnik István Southeast Asian Gold Museum, page 59, Budapest 2013. 

Champa, 15th-18th century. The vessel finely executed in repoussé showing lotus and geometric designs, the lower part with an inscription in old Cham characters.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 1,194 gDimensions: Height 15 cm, Diameter 30 cmPublished: Art of Champa, Arts of Southeast Asia, page 48, Issue 4, 2020. 

Khmer Empire, Angkor period, 10th-14th century. The small pectoral set with two rubies and three sapphires and decorated in repoussé with scrolling cloud designs. With gold hooks and chain allowing for suspension as a pendant.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Some tears and losses to the material, one ruby is missing, otherwise in good condition with traces of age and wear as well as soil encrustations.Weight: 22.2 gDimensions: Length 10 cm 

Champa, 10th-12th century. The pectoral of rectangular form, with fine repoussé depicting Ganesha seated in dhyanasana, his long trunk reaching his protruding belly, and wearing a sash around his torso, surrounded by scrolling cloud designs, and set with many gemstones, one above Ganesha’s head and three in each corner. Two gold hooks allow the pectoral to be worn as a necklace.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as some verdigris and extensive soil encrustations.Weight: 32.0 gDimensions: Size 9.1 x 7.8 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Pyu city-states, 10th century. The small coins of circular shape and crafted from solid gold with fine repoussé showing Vedic symbols, including one with a dharmachakra and two with conches, all with hooks on the reverse, likely added later, for use as buttons.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear. Fine copper red patina.Weight: 4.0 g (total)Dimensions: Diameter 1.1 cm (the largest) and 0.9 cm (the smallest)Literature comparison: Silver pyu coins are in the collections of the Metropolitan Museum of Art, exhibited in Lost Kingdoms: Hindu- Buddhist Sculpture of Early Southeast Asia, 5th to 8th Century from 14 April 2014 to 27 July 2014, cat. 36A and 36B, as well as the British Museum, museum numbers 1983,0118.10 and 1884,0510.1. 

Pyu city-states, 2nd-10th century. The ring with broad shoulders, set with a rectangular ruby intaglio showing a mythical beast and decorated with small gold beads.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of age and wear, the central stone with some natural inclusions.Weight: 5.9 gDimensions: Size 2.8 x 2.8 cm, Inner Diameter 2.1 cmAlloy composition range: Gold between 17-22 karat, the remainder consisting of various metals commensurate with the period. 

Ava Kingdom, Upper Burma, 15th-16th century. The gold plaque with fine repoussé depicting Buddha seated in dhyanasana with the hands forming the dhyana mudra, the gesture of meditation, wearing a samghati around his left shoulder, the face with a meditative expression, long earlobes, and urna, the hair in tight curls surmounted by an ushnisha, a halo behind the head.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with expected minor traces of age and wear as well as soil encrustations.Weight: 9.6 gDimensions: Size 7.9 x 7 cm 

Champa, 10th-14th century. Shaped as a tropical fruit with many spikes all around as well as scrolling waves and other geometric patterns, all executed in fine repoussé with good incision work, with an old inscription incised in old Cham characters to the slightly recessed circular base.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Collector’s label to base.Condition: Very good condition with minor traces of age and wear, with some verdigris to the interior.Weight: 176.1 gDimensions: Height 10 cm 

Óc Eo Culture, 1st millennium AD. The coins of circular shape and each with fine repoussé showing a dharmachakra on one side and a Vedic symbol on the other.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 88.8 g (total)Dimensions: Diameter ca. 1.9 cm (each) 

Burma, Mandalay period or earlier, 18th-19th century. The comb crafted entirely from gold with a pierced and arched floral motif above the teeth, below a row of flowers and leaves in relief. The pin at the bottom of the comb allows it to be worn as a brooch.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, some minor bending to the teeth.Weight: 9.6 gDimensions: Size 3.7 x 8.5 cm 

Pyu city-states, 2nd-5th century. The gold plaque with fine repoussé depicting Buddha standing in samapada on a lotus base, his right hand raised in vitarka mudra and his left lowered in varada mudra, wearing a long flaring robe, the face showing a benevolent expression with a gentle smile, the hair in tight curls surmounted by a flaming ushnisha.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some small tears and miniscule losses, minor traces of age and wear.Weight: 9.8 gDimensions: Size 11 x 6.2 cmAlloy composition range: Gold between 17-22 karat, the remainder consisting of various metals commensurate with the period. 

Cambodia, 18th-19th century. The silver coins of circular shape and with fine repoussé showing roosters with long feathers. Prior to 1875, the tical was the currency of Cambodia.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations, some with verdigris and signs of erosion.Weight: 16.2 g (total)Dimensions: Diameter 1.8 cm (the largest) and 1.2 cm (the smallest)

Cambodia, 17th-18th century. The silver coins of circular shape and with fine repoussé showing roosters with long feathers. Prior to 1875, the tical was the currency of Cambodia.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations, minor signs of erosion, and fine malachite-green patina on most coins.Weight: 35.4 g (total)Dimensions: Diameter 2 cm (the largest) and 1.2 cm (the smallest) 

Champa, 10th-12th century or later. One box shaped as a cup with fine geometric decorations, the other box with similar decorations with fine incision work and the cover with spikes as you would find them on a tropical fruit, all skillfully executed in repoussé. The larger box with an old inscription in old Cham characters to the flat circular base.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition commensurate with age, with traces of age and wear, some verdigris, and soil encrustations. The cover of the smaller box is lost.Weight: 206.6 g (total)Dimensions: Height 9.5 cm and 6.5 cm 

Champa, 10th-13th century. The richly decorated crown with fine repoussé depicting three Garudas, only the central bird with wings but all three exhibiting both bird and human features, such as a beak as well as arms, set with gemstones above each bird, five above the central Garuda and three above the other two. Garuda is a legendary bird of Hindu, Buddhist and Jain mythology, a divine eagle-like sun bird and the king of birds as well as the mount of Vishnu.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Condition: Very good condition with minor traces of age and wear, some minor bending, and soil encrustations.Weight: 81.3 gDimensions: Height 7.9 cm, Width 14.5 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 3 (pages 55, 56 and 97), Budapest 2008. Art of Champa, Arts of Southeast Asia, pages 68 and 94, Issue 4, 2020.Assay data: Gold 68 %, Silver 30 %, Copper 1 %. 

Pyu city-states, 2nd-10th century. The oval gold plaque with fine repoussé depicting Buddha seated in dhyanasana on a double lotus throne and forming the bhumisparsa mudra with his hands while wearing a samghati over his left shoulder, the face with a meditative expression, long earlobes, and ushnisha, within a shrine surmounted by five stupas.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition, some minor bending, several small losses, and minor traces of age and wear.Weight: 15.4 gDimensions: 11.6 x 8 cmAlloy composition range: Gold between 17-22 karat, the remainder consisting of various metals commensurate with the period. 

Khmer Empire, late Angkor period, 14th-15th century. The box and cover crafted from silver and of octagonal shape with a splayed foot, finely executed in repoussé with foliate and floral designs, the base with a mark in the form of a flower within a shrivatsa (endless knot), the cover topped by a gold element with fine repoussé decorations in a floral composition bordered by scroll designs.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, the gold top attached to the cover with black wax.Weight: 29.4 gDimensions: Height 4.3 cm 

Champa, 10th-14th century. Shaped as a tropical fruit with many spikes all around as well as scrolling waves and other geometric patterns, all executed in fine repoussé with good incision work.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Collector’s label to base.Condition: Very good condition with minor traces of age and wear, with little verdigris and copper-red patina to the interior.Weight: 165.0 gDimensions: Height 11 cm 

Indonesia, Java, 19th century. The large silver crown consisting of many separately crafted pieces riveted together, impressively executed in fine repoussé with minute floral and geometric patterns all around, with the frontal element showing an imposing bird of prey with large wings.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 1,048 gDimensions: Height 23.8 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, pages 200/201, Budapest 2013. 

Indonesia, Tanimbar, 19th century or earlier. The richly decorated dish executed in fine repoussé, showing four phoenixes arranged in a stylized swastika in the center of the well surrounded by scroll borders, with a geometric border around the interior sides and another scroll border around the rim.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of wear, few miniscule losses around the rim.Weight: 103.6 gDimensions: Diameter 27 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 220, Budapest 2013. 

Champa, 10th-12th century. The head displaying the classic iconography of Shiva, the central deity of the Cham people, with long earlobes and piled up locks of hair. The face showing a fine, calm expression with almondshaped eyes, one uninterrupted bow-shaped eyebrow below the third eye, a broad nose, an elegantly curved mustache, and thick lips forming a subtle smile. Gold and silver Shiva heads such as this one once belonged to mukhalingas but were often separated due to the weak riveting used to fix the heads to the linga bodies.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 260.2 gDimensions: Height 17.2 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, page 174, Budapest 2013. 

Vietnam, 16th-18th century. The finely worked gold top element depicting a dragon and a phoenix, both finely incised and confronting with a magical pearl in the form of an oval rock crystal set in the center between them, the comb crafted from silver.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 25.9 gDimensions: Size 5.7 x 6.8 cmPublished: The Zelnik Istvan Southeast Asian Gold Museum, pages 66 and 67, Budapest 2013. Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 1, no. 8 (page 88), Budapest 2007. 

Pyu city-states, 8th-10th century. The ring elegantly crafted with broad shoulders, the oval top set with a dark agate intaglio showing three horizontal lines and decorated with small gold beads.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 6.9 gDimensions: Size 2.2 x 2.4 cm, Inner Diameter 1.7 cmAlloy composition range: Gold between 17-22 karat, the remainder consisting of various metals commensurate with the period. 

Samon Valley culture, 800 BC-200 AD. The translucent stone of a pale to iron red color with natural dark and light inclusions, finely carved and incised to represent a deity standing upright with the legs close together and the arms folded in front of the chest. Pierced through the sides to allow suspension as a pendant. This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is an agate of a very rare color and the talisman is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color is original and natural. The stone has been cleaned in a tumbler and re-polished by hand to a smooth and shiny surface. There are clear marks of authentic ancient craftsmanship. The holes are ancient, handmade, irregular, and funnel-shaped. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 41.1 gDimensions: Height 5.2 cm 

Vietnam, 19th century. The spoon finely cast with an octagonal handle with a pointed tip and a small circular bowl.Provenance: Ex-collection of Bao Dai, last emperor of the Nguyen dynasty (a letter of provenance signed by Dr. Zelnik will be handed out to the winning bidder upon request). Ex-Collection of The Zelnik István Southeast Asian Gold Museum, acquired from the above. Institutional art collection in Belgium, acquired from the above.Condition: Very condition with minor traces of age and wear.Weight: 14.6 gDimensions: Length 9 cm  

Champa, 15th-18th century. The finely worked repoussé gold top element depicting two dancing male deities surrounded by scrolling cloud designs and set with an oval gemstone in the center between them, the comb crafted from silver.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with minor traces of age and wear, a small loss to the gold top element gemstone setting, the stone with some natural inclusions.Weight: 44.4 gDimensions: Size 6.5 x 7 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %. 

Pyu city-states, 2nd-10th century. The semi-translucent stone of a black color with white bands and natural dark-brown inclusions, skillfully carved and incised as a dog with a bushy bifurcated tail obscuring its hind legs. Pierced through the dog’s neck and tail to allow for suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a very rare, beautiful, and natural banded black agate with natural white stripes and the talisman is original, ancient, cut by hand with carving, boring and grinding. The color is original and natural, with no trace of dying in the material and microcracks. The stone has been cleaned by hand using organic oil and its surface is smooth and polished, while the fine ancient patina has been preserved. The marks of primitive tools are clearly visible on the surface. The holes are ancient, handmade, irregular, funnel-shaped, executed from both sides using iron needles. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear, one tiny natural fissure to the tail.Weight: 15.4 gDimensions: Length 4.3 cmLiterature comparison: A very similar dog talisman is published in Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), page 168, Budapest 2016. 

Champa, 10th-13th century. The richly decorated ring set with an oval amethyst at the top flanked by two smaller gemstones (zircon and aventurine), the ring band with fine repoussé showing stylized tiger heads on the shoulder and scrolling cloud designs at the top.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with expected traces of age and wear as well as soil encrustations, the central stone with some natural inclusions.Weight: 12.5 gDimensions: Size 3.6 x 3.5 cm, Inner Diameter 2.5 cmPublished: Gold Treasures of the Cham Kingdoms from the Collection of Dr. Zelnik Volume 2, no. 24 (page 104), Budapest 2008.Assay data: Gold 67-68 %, Silver 20-30 %, Copper 1-2 % (traces of iron and zinc).  

Champa, 10th-12th century. The richly decorated pendant with fine repoussé depicting Ganesha dancing surrounded by scrolling cloud designs and set with five gemstones above the Hindu deity’s head and three gemstones below his feet.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations.Weight: 32.6 gDimensions: Size 9.2 x 7.7 cmAlloy composition range: Gold 64-72 %, Silver 24-28 %, Copper 2-4 %.

Cambodia or Laos, 10th-12th century. The gold plaque with fine repoussé and neatly incised details depicting Buddha standing in samapada on a double lotus dais, his right hand raised in abhaya mudra, wearing a samghati draped over the left shoulder, showing a calm expression with almond eyes, long earlobes, a broad nose, and a benevolent smile, the hair in tight curls surmounted by an ushnisha.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Good condition with some minor bending, traces of age and wear, as well as soil encrustations.Weight: 3.5 gDimensions: Size 8.4 x 3.9 cm 

Burma, 15th-17th century. The gold plaque with fine repoussé depicting Buddha standing with the right hand raised in abhaya mudra and the left hand lowered in vitarka mudra, wearing a samghati around his left shoulder, the face with a meditative expression, long earlobes, and urna, the hair in tight curls surmounted by an ushnisha, a halo behind the head. The edges of the plaque are pierced with several small holes for attachment.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with one miniscule tear around a piercing to the lower edge, expected minor traces of age and wear as well as soil encrustations.Weight: 5.5 gDimensions: Size 8.9 x 5.1 cm 

Southeast Asia, 1st millennium AD. The coins were excavated in Myanmar, in what was formerly the territory of Champa, most of circular form and a few coins of rectangular or irregular shape, all of varying size and thickness, and with fine repoussé showing Vedic symbols, sun, star, and floral designs, Sanskrit characters, conches, bulls, mythical beasts, and deities.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear as well as soil encrustations, some coins with verdigris.Weight: 612.0 gDimensions: Diameter 3.8 cm (the largest) and 0.9 cm (the smallest) 

Pyu city-states, 2nd-10th century. The translucent stone finely carved and neatly incised as an elephant, its stubby trunk and tusks giving it a compact shape. Pierced through the elephant’s forehead and behind allowing for suspension as a pendant.This piece was personally examined by Burmese American archaeologist and gemologist Terence Tan, a leading expert in Pyu art and Burmese gemstones, and Hungarian gemologist Dr. József Takács. Their analysis finds that the stone is a rock crystal and the talisman is original, ancient, cut by hand with carving, chiseling, boring, and grinding. The color is natural. There are sandy deposits in the recesses of the surface. The stone has been cleaned in a tumbler and repolished by hand. There are marks of authentic ancient craftsmanship and use of primitive tools. The holes are ancient, handmade, and irregular. A certificate signed by Dr. Zelnik attesting to the above will be handed to the winning bidder upon request.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above.Condition: Very good condition with minor traces of age and wear.Weight: 42.5 gDimensions: Size 2.8 x 4 cmPublished: Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), page 240-241, Budapest 2016.Literature comparison: An almost identical piece is published in Burmese Gemstone Amulets and Talismans Volume 1 (part of the series From the Collection of Dr. Zelnik), page 227, Budapest 2016.