22nd May - Oriental Art

Lot 1 - Parikara - Jain altar; India, South Rajasthan, Mount Abu; 10th-13th century. Marble with traces of polychrome. It has a pedestal made ex profeso. Measurements: 112 x 71 x 29 cm. Jainí niche intended to house an image of the victorious Jina. The piece made of marble presents symbolic and allegorical decoration. It is based on anthropomorphic and zoomorphic motifs that allude to futility. The piece that in spite of having an intricate ornamental pattern maintains a strict symmetry, still conserves part of the polychromy. The green, yellow and red tones that can be seen indicate the great expressiveness with which this work was originally conceived. Jainism, also known as Jain Dharma, is an Indian religion. Jainism traces its spiritual ideas and history through the succession of twenty-four tirthankaras (supreme preachers of Dharma), the first in the present time cycle being Rishabhadeva, whom tradition holds to have lived millions of years ago, the twenty-third tirthankara Parshvanatha, whom historians date to the ninth century B.C., and the twenty-fourth tirthankara Parshvanatha, whom historians date to the ninth century B.C., and the twenty-fourth tirthankara Parshvanatha Parshvanatha, whom historians date to the ninth century B.C.. Jainism is one of the oldest religions that is still practiced today. Mount Abu is home to several Jain temples, including the Dilwara temples, a complex of temples carved in white marble. These Jain temples were built by Vimal Shah and designed by Vastupala, Jain ministers of Dholka. They are famous for their use of white marble and intricate marble carvings.

Estim. 30 000 - 40 000 EUR

Lot 2 - Luohan head; China, Qing Dynasty, XVII- XVIII century. Sandstone. Measurements: 41 x 28 x 18 cm; 57 x 32 x 33 x 33 cm (with stand). Head carved in sandstone representing desire. In the traditional Buddhist belief, the luohan is a disciple who has reached enlightenment through an intense personal effort. From the 9th century onward, the luohan cult and its depiction in art evolved mainly in the context of the Chan (Zen), or "meditation", sect of Buddhism. Under the Qing, inherited art forms flourished and innovations occurred at many levels and in many types. High levels of literacy, a successful publishing industry, thriving cities, and the Confucian emphasis on cultivation nurtured a lively and creative set of cultural fields. uring this period, the European tendency to imitate Chinese artistic traditions, known as chinoiserie, also gained great popularity in Europe due to increased trade with China and the broader current of Orientalism.

Estim. 5 000 - 6 000 EUR

Lot 3 - Bodhisattva; China, Yuan-Ming Dynasty, XIII-XIV centuries. Wood with traces of polychrome. Attached certificate C-14. Work exhibited at Feriarte 2006. It has faults. Measurements: 137 x 70 x 37 cm; 137 x 72, 5 x 52 cm (with base). Wooden sculpture representing Bodhisattva. The term bodhisattva designates a being who, by the systematic exercise of the perfect virtues, reaches Buddhahood, but renounces to enter the complete Nirvana in order to help and guide all beings, until all of them are liberated. His determining quality is compassion, supported by wisdom and supreme knowledge. A bodhisattva gives active help and is ready to take upon himself the suffering of all beings and to transfer his karmic merit to others; logically, they are the object of veneration by the believers, who feel them closer and see in them guides and help in their needs. In this particular case, the way in which the back of the sculpture is worked indicates that the piece was originally part of the ornamentation of an architectural space and probably also of a larger sculptural group. In spite of the faults caused by the passage of time, the quality of the carving and the skill of the artist can still be appreciated. During the Yuan dynasty a rich cultural diversity developed. The main cultural achievements were the development of the theater and the novel and the increased use of the written vernacular. Arts and culture also developed and flourished greatly during the Yuan dynasty. The political unity of China and much of Central Asia promoted trade between East and West. The extensive contacts of the Mongols with Western Asia and Europe produced a great deal of cultural exchange. The other cultures and peoples of the Mongol Empire also greatly influenced China. It had greatly facilitated exchange and trade throughout Asia until its decline; communications between the Yuan dynasty and its ally and subordinate in Persia, the Ilkhanate, fostered this development. Buddhism had a great influence on Yuan rule, and Tantric Buddhism of the Tibetan rite had greatly influenced China during this period. Attached certificate C-14. Work exhibited at Feriarte 2006. It has faults.

Estim. 30 000 - 31 000 EUR

Lot 4 - Nuo ritual mask; China, Hunan Province, Qing Dynasty, 18th century or earlier. Zhang Mu wood. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 49 x 54 x 27 cm; 72 x 54 x 27 cm (with stand). Zoomorphic ritual mask, made of wood. It is a hand mask to perform the "Lion Dance". Due to its small size, it was probably used by a child. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest heyday during the Tang Dynasty (618-907 AD), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 2 000 - 3 000 EUR

Lot 5 - Divinity; Dong Duong, Quang Nam province, Champa, Vietnam. 11th century. Stoneware. Presents faults. Measurements: 70 x 42 x 32 cm. Stoneware sculpture carved in round bulk, which by its dimensions is likely to be part of the ornamentation of a temple. Although it is not possible to specify which divinity the piece represents, we can identify numerous lakshana, iconographic symbols that identify the Buddhas. The first we see is the bun hairstyle, symbol of meditation, of spiritual life (with the Ushnisha inspired by a stupa). Together with the half-closed eyes, a serene face is completed by the sketched smile, symbol of the balance and serenity of a perfect being. The elongated earlobes allude to the large earrings worn by members of the upper classes in India at the time of Sakyamuni, and represent the concepts of greatness, nobility and wisdom. Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam for a period of approximately 1,000 years, between 500 and 1700 AD. The Cham created free-standing sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art. Presents faults.

Estim. 6 000 - 8 000 EUR

Lot 6 - Brahma; Vietnam, Thap Nam, Binh Dinh province, Champa, 12th-13th century. Sandstone. Measurements: 95 x 52 x 11 cm. Stele made of sandstone representing the figure of Brahma in relief. In the framework of Hinduism, Brahma (literally "evolution" or "development", in Sanskrit), is the creator god of the universe and member of the Trimurti, the triad formed by himself (creator god), Vishnu (preserver god) and Shiva (destroyer god). There are several myths about the origin of the Trimurti, although the first myth is the one that supposes Brahma as the first being created by Brahman, and even as the first personification of this absolute deity, by whom everything was created. Thus, the three gods would be avatars of a single god, in his facets of creator, preserver and destroyer. Brahma is the husband of Sarasvati, the goddess of knowledge. However, being the Creator, all his children are born of his mind, and not of his body. Brahma intervenes only occasionally in the affairs of the gods, and rarely in those of mortals. Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam for a period of approximately one thousand years, between 500 and 1700 AD. The Cham created free-standing sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art.

Estim. 18 000 - 19 000 EUR

Lot 7 - Head of Vishnu; Cambodia, Khmer Empire, pre Angkor period, 18th-19th century. Polished stone. Attached certificate issued by the specialist Le My Hao. Work exhibited at Feriarte 2008. Measurements: 33 x 16 x 14 cm; 42 x 18 x 18 x 18 cm (with stand). Head carved in stone representing the face of the god Vishnu. The finish of the lower area indicates that originally the piece was part of a larger sculpture, probably full body. Outside India, this divinity acquires its own attributes, as we see in this Cambodian piece. Usually this god is represented as a being of human form, blue skin and four arms holding the lotus flower, a conch shell, a golden mace and a ring. He is frequently seen seated, resting on a lotus flower, with his consort Laksmi sitting on one of his knees. In this case, his face exudes serenity, given the symmetry of his features. The earlobes are elongated, symbolizing wisdom and aristocratic origin. The Khmer or Khmer is one of the most important cultures developed in Indochina. At the beginning of the 7th century, the first inscriptions in their language appear in the Indian kingdom of Tshenla, located in the middle course of the Mekong River. The Khmer reorganized politically, and in the 9th century achieved the unity of present-day Cambodia under the reign of Jayavarman II (802-850), founder of the kingdom of Angkor. This monarch had spent his youth in the refined court of the sailendra of Java, so he brought to his country an important influence of the Javanese culture, as well as the courtly protocol of that dynasty. Khmer art reached its moment of splendor during the period of Angkor, developed between the IX and XIII centuries, and reached very different fields, such as textiles, lacquer, ceramics, goldsmithery, etc. As for Khmer sculpture, from the 7th century it began to separate from the Indian influence and, after a long process of stylistic evolution, it developed its own original language, consolidated in the 10th century. It will be mainly carved in stone and with religious themes, although on numerous occasions the sacred theme becomes a mere excuse to represent courtly scenes, even if they feature gods. Hence the greater degree of realism with respect to Indian art, since the artists took royal courtiers as models. The result is admirable images of gods of imposing presence, endowed with a certain feminine sensuality and sophisticated beauty. Attached certificate issued by the specialist Le My Hao. Work exhibited at Feriarte 2008.

Estim. 10 000 - 11 000 EUR

Lot 8 - Nuo ritual mask; China, Hunan Province, Qing Dynasty, 18th century or earlier. Zhang Mu wood. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 42 x 26 x 15 cm; 55 x 28 x 20 x 20 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance performed with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 1 500 - 1 800 EUR

Lot 9 - Divine Beast Mask; China, Guizhou, Qing Dynasty, 18th-19th century. Wood by Zhang Mu. Missing on the left ear. Measurements: 50 x 39 x 13 cm; 65 x 40 x 24 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. It presents lack in the left ear.

Estim. 2 000 - 2 500 EUR

Lot 10 - Nuo ritual mask; China, Huan, Qing Dynasty, 19th century. Zhang Mu wood. Presents loss of the nose and faults. Measurements: 48 x 44 x 8 cm; 76 x 44,5 x 27,5 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance performed with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. It presents loss of the nose and faults.

Estim. 300 - 400 EUR

Lot 11 - Nuo ritual mask; China, Hunan province, Qing Dynasty, 18th c. or earlier Zhang Mu wood Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 28 x 27 x 19 cm; 60 x 22 x 22 x 22 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance performed with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 500 - 600 EUR

Lot 12 - Nuo ritual mask; China, Qing Dynasty, 19th century Zhang Mu wood. Work exhibited at Brussels Oriental Art Fair, 2008. It presents faults and wear. Measurements: 29 x 25 x 17 cm; 54 x 22 x 18 x 18 cm (with stand). It is a hand mask to perform the "Lion Dance". Due to its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Work exhibited at Brussels Oriental Art Fair, 2008. It presents faults and wear

Estim. 600 - 800 EUR

Lot 13 - Screen; China, 20th century. Jumu wood with hard stone applications. It has slight flaws. Measurements: 186 x 46 x 4 cm. Chinese four-leaf folding screen, in jumu wood with figurative decoration representing Chinese courtesans wandering through gardens with flowers and trees. The dresses and other ornaments are enhanced with hard stones. It presents minor faults.

Estim. 600 - 800 EUR

Lot 14 - Lattice; Thailand, 19th century. Wrought iron. Measurements: 59 x 37 x 4 cm (x2). Set of lattices made of wrought iron. The two pieces have the same design based on an intricate vegetal pattern of warped shapes and openwork design. In each of the cases in the central area you can see the representation of a young girl with her breast uncovered. The word lattice comes from the Latin zelus or sky. It is an element whose purpose is the enclosure of spaces such as windows and balconies. The function of the lattice is double, since they allow the entrance of light and air to the interior, at the same time that they hide the interior. Lattices can be made of many materials, with simple or more elaborate designs.

Estim. 1 500 - 2 000 EUR

Lot 15 - Travel chest; Tibet, 18th century. Blued and scratched copper. It has slight flaws and wear. Measurements: 16,5 x 20,5 x 13 cm. The chests and chests were used as the perfect place to treasure jewels, documents or those elements of value of the owner. The importance of their contents was also often reflected on the exterior, for this reason they were profusely decorated with marquetry of exotic woods, stones, bone or ivory, they were polychromed with vegetal designs or scenes, and they used to present silver bronze applications or gilded iron fittings. Slight flaws and wear.

Estim. 1 000 - 1 200 EUR

Lot 16 - Column; India, first third of the twentieth century. Carved marble. It shows wear and restorations. Measurements: 55,5 x 18 x 18 cm. Column made of carved marble with a square base from which the fluted shaft starts. The decorative patterns of Indian art are obtained, as can be seen in the tympanum, repeating simple elements intertwined or superimposed. The taste for symmetry stands out, thus achieving a dynamic and harmonious effect where the detail does not prevail over the whole. The infinite reiteration of ornaments in the Indian world is part of a representative metaphor close to the concept of eternity and the mutability of the universe. Indian art, unlike Western art, does not imitate nature. For this reason, a stylized representation of ornaments and plant motifs is very common. It presents wear and restorations.

Estim. 500 - 600 EUR

Lot 17 - Funerary urns; Vietnam, possibly XVII- XVIII centuries. Bronze. They show wear and rust. They have marks on the base. Measurements: 24 x 9 x 9 x 9 cm; 25 x 8 x 8 x 8 cm. Pair of urns made in bronze with the same design of circular base, body that increases in diameter in height and lid with conical finish. The quality of the relief stands out in both cases. Although it is different in the two urns, in both cases it represents a hunter with a bow trying to capture an animal that seems to be a snake. Their format and even the ornamentation indicate that they are funerary urns. The golden age of Vietnamese art was that of the Sham kingdoms (200-1720), although today it is a relatively little studied civilization. To a large extent, this is because the great achievements of Vietnamese culture are to be found not in the fine arts, but in literature. Nevertheless, a brilliant artistic industry developed, although deeply marked by the aesthetic, philosophical and religious ideas of China. However, some genuine artistic manifestations were maintained, such as the water puppetry, and there will also emerge distinctly Vietnamese phenomena such as Caodaism, a sect originated in 1919. They show wear and rust. They have marks on the base.

Estim. 2 000 - 2 500 EUR

Lot 18 - Lattice window; India, Rajasthan, early 19th century or earlier. Carved sandstone. Work exhibited at Feriarte 2007. Measurements: 183 x 52,5 x 10 cm. Due to its aesthetics it is possible that it comes from a palace of Jaisalmer I. Jalí is the Hindu equivalent to the lattice, an architectural element consisting of an openwork board that was used to cover openings such as balconies, windows or doors; allowing to see from the inside without being seen while letting light and air into the rooms and helping to regulate the temperature. In India, the jali is usually made in stone and is developing as a mixture between the ancestral stonework and the art of working the stone through Punctures that draw beautiful geometric shapes as can be seen in the piece that we present. Geometric patterns were usually combined with calligraphy. Over time this type of decorative element will gain more prominence in Indian architecture and the decorations will become increasingly complex. The lattice or jali is profusely used in Indian, Islamic and Hispano-Muslim architecture. The decorative patterns of Indian art are obtained, as can be seen in the tympanum, by repeating simple interlaced or superimposed elements. The taste for symmetry stands out, thus achieving a dynamic and harmonious effect where the detail does not prevail over the whole. The infinite reiteration of ornaments in the Indian world is part of a representative metaphor close to the concept of eternity and the mutability of the universe. Indian art, unlike Western art, does not imitate nature. For this reason, a stylized representation of ornaments and plant motifs is very common. Work exhibited at Feriarte 2007.

Estim. 2 000 - 3 000 EUR

Lot 19 - Sage stones or Gongshi ; China, Qing dynasty, 19th century. Limestone on wooden base. Measurements: 39 x 17 x 11 cm. Gongshi also known as scholar's rocks or vision stones, are natural or shaped rocks traditionally prized by Chinese scholars. Scholar's stones can be of any color, and contrasting colors are not uncommon. The size of the stone can also vary widely: scholar's rocks can weigh hundreds of kilograms or less than one kilogram. The term also identifies stones placed in traditional Chinese gardens. In the Tang dynasty, a set of four important qualities was recognized for rocks. They are: thinness, openness, punctures and wrinkles. Scholar stones are usually karst limestones. In the 17th century, the aesthetic ideals of painting and Scholar rocks were almost indistinguishable. Sets of fantastical rocks in a garden, often arranged in front of a white wall, as in The Astor Court, could be inspired by compositional formulas developed in painted landscapes; conversely, the texture and fantastical forms of painted landscapes often resembled those of scholar's rocks more closely than those of the actual landscape. The passion for fantastic rocks culminated at this time in numerous "portraits" of real and imaginary specimens.

Estim. 1 000 - 1 100 EUR

Lot 20 - Sage stone or Gongshi ; China, Qing dynasty, 19th century. Limestone on wooden base. Measurements: 28 x 2,5 x 15,5 cm. Gongshi also known as scholar's rocks or vision stones, are natural or shaped rocks traditionally prized by Chinese scholars. Scholar's stones can be of any color, and contrasting colors are not uncommon. The size of the stone can also vary widely: scholar's rocks can weigh hundreds of kilograms or less than one kilogram. The term also identifies stones placed in traditional Chinese gardens. In the Tang dynasty, a set of four important qualities was recognized for rocks. They are: thinness, openness, punctures and wrinkles. Scholar stones are usually karst limestones. In the 17th century, the aesthetic ideals of painting and Scholar rocks were almost indistinguishable. Sets of fantastical rocks in a garden, often arranged in front of a white wall, as in The Astor Court, could be inspired by compositional formulas developed in painted landscapes; conversely, the texture and fantastical forms of painted landscapes often resembled those of scholar's rocks more closely than those of the actual landscape. The passion for fantastic rocks culminated at this time in numerous "portraits" of real and imaginary specimens.

Estim. 800 - 1 000 EUR

Lot 21 - Pair of Anglo-Indian chairs, XIX-XX century. Wood with bone inlay. They have upholstery of later period. Measurements: 115 x 50 x 52 cm (x2). Pair of chairs made of wood. The pieces have the same design, seated on four legs; the back ones are straight and stipe-like and the front ones are warped. They do not have armrests and the backrest has an openwork design with inlaid bone, as in the rest of the wooden areas (chairs and waist). The taste for symmetry stands out, thus achieving a dynamic and harmonious effect where the detail does not prevail over the whole. The infinite reiteration of ornaments in the Indian world is part of a representative metaphor close to the concept of eternity and the mutability of the universe. Indian art, unlike Western art, does not imitate nature. For this reason, a stylized representation of ornaments and plant motifs is very common. They have later period upholstery.

Estim. 800 - 1 000 EUR

Lot 22 - Carpet with dragon and Phoenix; China, c. 1920. Wool and cotton. Precise cleaning. Measurements: 183 x 123 cm. The wool carpets were the favorite of the Chinese people for their softness, durability and brightness. They were mainly used to cover the benches of the temples, to pray or to hang on the walls. The colors and patterns depended on the region where they were made. Wool carpets were rarely used for the floor, where felt and matted carpets were laid, as they would have easily deteriorated due to the intense heat and high humidity during the summer. Precise cleaning.

Estim. 600 - 700 EUR

Lot 23 - Carpet with landscape; Peking, China, first third of the twentieth century. Wool and cotton. Precise cleaning. Measurements: 160 x 101 cm. Carpet made of wool and cotton in whose field you can see a landscape that simulates the traditional Chinese painting. The wool carpets were the favorite of the Chinese people for their softness, durability and brightness. They were mainly used to cover the benches of the temples, to pray or to hang on the walls. The colors and patterns depended on the region where they were made. Wool carpets were rarely used for the floor, where felt and matted carpets were laid, as they would have easily deteriorated due to the intense heat and high humidity during the summer. Precise cleaning.

Estim. 600 - 800 EUR

Lot 24 - Altar; Qing Dynasty, 18th-19th century. Jumu wood. It has slight flaws. Measurements: 84 x 185 x 38 cm. Work from Shanxi province made in Jumu wood. The Ching or Qing dynasty, also known as Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the current northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, keeping the capital in Beijing during all this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite. It presents minor faults.

Estim. 800 - 1 000 EUR

Lot 25 - Pair of friezes; India, XX century. Carved stone with traces of polychrome. They present faults in the carving. Measurements: 20 x 20 x 10 cm (x2). Pair of friezes made in carved stone that still conserve part of the polychrome. In both cases the main figure is an elephant. Initially, the development of these works was dedicated to the royal court, which used the art to elaborate portraits, events and scenes of the life of the court, scenes of wild life and hunting, as well as illustrations of battles, with which they adorned the architecture , so the images are framed by richly decorated strips as if they were vignettes. They present shortcomings in size.

Estim. 700 - 800 EUR

Lot 26 - Wooden trunk in the manner of a scholar's stone; China, Qing Dynasty, 19th century. Wood. Measurements: 38 x 18 x 15 cm. Wooden log in the manner of a scholar's stone. Gongshi also known as scholar's rocks or vision stones, are natural or shaped rocks traditionally prized by Chinese scholars. Scholar's stones can be of any color, and contrasting colors are not uncommon. The size of the stone can also vary widely: scholar's rocks can weigh hundreds of kilograms or less than one kilogram. The term also identifies stones placed in traditional Chinese gardens. In the Tang dynasty, a set of four important qualities was recognized for rocks. They are: thinness, openness, punctures and wrinkles. Scholar stones are usually karst limestones. In the 17th century, the aesthetic ideals of painting and Scholar rocks were almost indistinguishable. Sets of fantastical rocks in a garden, often arranged in front of a white wall, as in The Astor Court, could be inspired by compositional formulas developed in painted landscapes; conversely, the texture and fantastical forms of painted landscapes often resembled those of scholar's rocks more closely than those of the actual landscape. The passion for fantastic rocks culminated at this time in numerous "portraits" of real and imaginary specimens.

Estim. 800 - 1 000 EUR

Lot 27 - Khotan rug; China, c. 1920. Wool and cotton. It has some flaws especially in the fringe. Needs to be cleaned. Measurements: 277 x 165 cm. Drawing from a unique proximity to both China and Persia, Khotan rugs skillfully combine Chinese and Persian motifs and design elements in a hybrid style. Therefore, within khotan carpets you will find rich mixed palettes and a dance between hallmarks.Wool carpets were favored by the Chinese people for their softness durability and luminosity. They were mainly used to cover the benches of temples, for prayer or to hang on the walls. The colors and patterns depended on the region where they were made. Wool carpets were rarely used for the floor, where felt and matted carpets were laid, as they would have easily deteriorated due to the intense heat and high humidity during the summer. It has some flaws especially in the fringe. Needs cleaning.

Estim. 1 000 - 1 200 EUR

Lot 28 - Nuo ritual mask; China, Hunan Province, Qing Dynasty, 18th century or earlier. Zhang Mu wood Work exhibited at Brussels Oriental Art Fair, 2008. It has slight flaws. Measurements: 52 x 44 x 17 cm; 82 x 40 x 24 cm (with stand). It is a hand mask to perform the "Lion Dance". Because of its small dimensions. The Lion Dance began in China about 2000 years ago, during the Han Dynasty (206 BC-220 AD). It had its greatest apogee during the Tang Dynasty (618-907 A.D.), whose first references appear in the book On Music. The text states that the Lion Dance was danced with five lions, one large and four small, all of different colors. The dance was only for people belonging to the ruling structure of the empire, but little by little it became popular. This popularization facilitated its transformation into what it is today: a traditional dance that is danced with a single lion. It also had a great boom during the Qing Dynasty (1644-1911), when the Manchus banned the practice of martial arts, to prevent the people from rebelling against their despotic government. Most of the Kung Fu practitioners became revolutionaries who wanted to re-establish the Ming Dynasty, so the Lion Dance was used to exchange information among the revolutionaries. Within the Nuo rituals, there was a particular lion dance, very active among the Han ethnic group in Hunan. The mask was held in the hand, while the shaman or the person wearing it danced to the rhythm of the music. They sang and danced to musical accompaniment, thus attracting spirits to a certain area and begging for their favors. Work exhibited at Brussels Oriental Art Fair, 2008. It has slight faults.

Estim. 700 - 800 EUR

Lot 29 - Khotan rug; China, c. 1920. Wool and cotton. It shows wear. Needs cleaning. Measurements: 267.5 x 70.5 cm. Drawing from a unique proximity to both China and Persia, Khotan rugs skillfully combine Chinese and Persian motifs and design elements in a hybrid style. Therefore, within khotan carpets you will find rich mixed palettes and a dance between hallmarks.Wool carpets were favored by the Chinese people for their softness durability and luminosity. They were mainly used to cover the benches of temples, for prayer or to hang on the walls. The colors and patterns depended on the region where they were made. Wool carpets were rarely used for the floor, where felt and matted carpets were laid, as they would have easily deteriorated due to the intense heat and high humidity during the summer.

Estim. 1 000 - 1 200 EUR

Lot 30 - Oriental rug; Possibly China, first third of the twentieth century. Wool and cotton. It shows wear. Needs cleaning. Measurements: 345 x 180 cm. The wool carpets were the favorite of the Chinese people for their softness, durability and brightness. They were mainly used to cover the benches of the temples, to pray or to hang on the walls. The colors and patterns depended on the region where they were made. Wool carpets were rarely used for the floor, where felt and matted carpets were laid, as they would have easily deteriorated due to the intense heat and high humidity during the summer. It shows wear and tear. Needs cleaning.

Estim. 800 - 1 000 EUR

Lot 31 - Shiva Lingam; Thap Mam style, Champa, 12th-14th centuries. Carved stone. Attached certificate of authenticity from the specialist Le My Hao. It has slight damage. Measurements: 44,5 x 30,5 x 35,5 cm. A lingam sometimes called linga or Shiva linga, is an abstract or aniconic representation of the Hindu god Shiva in Shaivism. It is often depicted within a disc-shaped platform, the yoni - its female counterpart. consisting of a flat, horizontal element compared to the vertical lingam, and designed to allow liquid offerings to drain for collection. Together, they symbolize the merging of the microcosm and macrocosm. Shiva is one of the gods of the Trimurti or main trinity of Hinduism. He is the destroyer god, together with Brahma, the creator god, and Vishnu, the preserver god, although he does not incarnate meaningless destruction, but that which also allows regeneration, change and rebirth. Together with his consort Parvati (goddess with dual aspect: maternal and demon slayer) he is the father of Ganesha (god of wisdom) and Kartikeia (god of war).Champa was a Southeast Asian civilization that flourished along the coasts of what is now central and southern Vietnam during a period of approximately one thousand years, between 500 and 1700 AD. The Cham created freestanding sandstone sculptures in round bulk, as well as high and low relief sandstone carvings. In general, they seem to have preferred to sculpt in relief, and excelled especially in high relief sculpture. Cham sculpture went through a marked succession of historical styles, the main one of which produced some of the finest works of Southeast Asian art. Attached certificate of authenticity of the specialist Le My Hao. Slightly damaged.

Estim. 3 000 - 4 000 EUR

Lot 32 - Animal protector; China, Han dynasty, 216 BC-220 AD. Carved stone. It has slight flaws. Measurements: 30 x 60 x 46 cm. Carved stone sculpture representing an animal with horns and open jaws, in which wishes were deposited. The piece is carved in the front area indicating that it was originally part of the ornamentation of an architectural complex. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. It presents minor faults.

Estim. 3 000 - 4 000 EUR

Lot 33 - Lama; South Vietnam, XVIII- XIX centuries. Red lacquered and gilded wood. Attached certificate issued by the specialist Le My Hao. Work exhibited at Highlights Maastricht 2007. Slight wear and tear. Measurements: 55 x 43,5 x 36 cm. Red lacquered wood sculpture representing a seated lama. He also adopts the posture of the lotus flower and performs a mudra that symbolizes that he takes the earth as a witness. It is called Bhumisparsa mudra, or gesture of touching the earth. It alludes to the moment in which Buddha solved the problem of ending suffering when he was under the tree in Bodhi-Gaya. In addition, we can identify numerous lakshana, iconographic symbols that identify Buddha, such as the half-closed eyes, the elongated lobes of the ears allude to the large earrings worn by members of the upper classes in India contemporary to Sakyamuni, and represent the concepts of greatness, nobility and wisdom.The protagonist wears a monastic robe with long folds that fall in a naturalistic way. The facial and body features are very human and, at the same time, individualized, and the attention to detail is extremely high. The ribs are extremely emphasized. He is seated cross-legged, in a meditation posture, his tremendous thinness could be due to a period of fasting, following the vital steps of Buddha. The piece is made from a single block of wood with the technique of lacquering and gilding, very common in the Vietnamese artistic tradition. First, a fairly thick layer of black lacquer was applied, which could then be followed by a thinner layer of red or brown lacquer, over which the gilding was applied. The habit lacquered in brown Attached certificate issued by the specialist Le My Hao. Work exhibited at Highlights Maastricht 2007. Slight wear and tear.

Estim. 5 000 - 6 000 EUR

Lot 34 - Luohan head; China, Qing Dynasty, XVII- XVIII century. Sandstone. Work exhibited at Feriarte 2007. Measurements: 42 x 33 x 18,5 cm; 56 x 32 x 33 x 33 cm (with stand). Head carved in sandstone representing love. In the traditional Buddhist belief, the luohan is a disciple who has reached enlightenment through an intense personal effort. From the 9th century onward, the luohan cult and its depiction in art evolved mainly in the context of the Chan (Zen), or "meditation", sect of Buddhism. Under the Qing, inherited art forms flourished and innovations occurred at many levels and in many types. High levels of literacy, a successful publishing industry, thriving cities, and the Confucian emphasis on cultivation nurtured a lively and creative set of cultural fields. uring this period, the European tendency to imitate Chinese artistic traditions, known as chinoiserie, also gained great popularity in Europe due to increased trade with China and the broader current of Orientalism. Work exhibited at Feriarte 2007.

Estim. 5 000 - 6 000 EUR

Lot 35 - Luohan head; China, Qing Dynasty, XVII-XVIII centuries. Sandstone. Work exhibited at Feriarte 2007. Presents certificate of purchase issued by Chine Gallery, Hong Kong. Measurements: 37 x 36 x 17,5 cm; 53 x 32 x 39 cm (with base). Head carved in sandstone representing joy. In traditional Buddhist belief, the luohan is a disciple who has attained enlightenment through intense personal effort. From the 9th century onward, the luohan cult and its depiction in art evolved mainly in the context of the Chan (Zen), or "meditation", sect of Buddhism. Under the Qing, inherited art forms flourished and innovations occurred at many levels and in many types. High levels of literacy, a successful publishing industry, thriving cities, and the Confucian emphasis on cultivation nurtured a lively and creative set of cultural fields. uring this period, the European tendency to imitate Chinese artistic traditions, known as chinoiserie, also gained great popularity in Europe due to increased trade with China and the broader current of Orientalism.

Estim. 5 000 - 6 000 EUR

Lot 36 - Lohuan; Vietnam, Annam historical region, XVIII- XIX centuries. Red lacquered and gilded wood. It presents faults and wear. measurements: 153 x 52 x 45 cm. Sculpture in red lacquered wood and gilded face and hands, characteristic technique of Vietnamese art. The piece stands out for a great stylization and a certain corporal hieratism that is lowered with the posture of the hands of stylized and long fingers and the inferior movement of the cape. The golden age of Vietnamese art was that of the Sham kingdoms (200-1720), although today it is a relatively little studied civilization. To a large extent, this is because the great achievements of Vietnamese culture are to be found not in the fine arts, but in literature. Nevertheless, a brilliant artistic industry developed, although deeply marked by the aesthetic, philosophical and religious ideas of China. However, some genuine artistic manifestations were maintained, such as the water puppetry, and there will also emerge distinctly Vietnamese phenomena such as Caodaism, a sect originated in 1919. It presents faults and wear.

Estim. 5 000 - 6 000 EUR

Lot 37 - Domestic utensil; Thanh Hóa Province, Vietnam, 14th-15th century. Bronze. Attached certificate of authenticity issued by Le My Hao. It shows wear and oxidation. Measurements: 43 x 66 x 66 cm (with handles); 33 x 66 x 66 x 66 cm. Domestic utensil made of bronze that retains earthy concretions. The piece has a circular shape with no ornamental details other than the torsal handles. Thanh Hóa is the northernmost coastal province of the north central coast region of central Vietnam. Human civilization has existed in Thanh Hóa for about 6,000 years and it was one of the earliest centers of the ancient Vietnamese. Certificate of authenticity issued by Le My Hao is enclosed. It shows wear and rust.

Estim. 5 000 - 6 000 EUR

Lot 38 - Bodhisatvas Quam Am and Thé Chí; Vietnam, Annam historical region, XVIII-XIX centuries. Wood lacquered in red and gold. Work exhibited at Feriarte 2007, Sculpture Highlights Maastricht and BOAF: Brussels Oriental Art Fair 2008. Measurements: 87 x 61 x 51 cm; 87 x 55 x 44 cm. Pair of bodhisattvas made in red lacquered wood and gilded in face, torso and hands, a technique characteristic of Vietnamese art. The term bodhisattva designates a being who, by the systematic exercise of the perfect virtues, attains Buddhahood, but renounces to enter the complete Nirvana in order to help and guide all beings, until all of them are liberated. His determining quality is compassion, supported by wisdom and supreme knowledge. A bodhisattva gives active help and is ready to take upon himself the suffering of all beings and to transfer his karmic merit to others; logically, they are the object of veneration by the believers, who feel them closer and see in them guides and help in their needs. The golden age of Vietnamese art was that of the Sham kingdoms (200-1720), although today it is a relatively little studied civilization. To a large extent, this is because the great achievements of Vietnamese culture are not to be found in the fine arts, but in literature. Nevertheless, a brilliant artistic industry developed, although deeply marked by the aesthetic, philosophical and religious ideas of China. However, some genuine artistic manifestations were maintained, such as the water puppetry, and there will also emerge distinctly Vietnamese phenomena such as Caodaism, a sect originated in 1919. Work exhibited at Feriarte 2007, Sculpture Highlights Maastricht and Boaf: Brussels Oriental Art Fair 2008.

Estim. 8 000 - 10 000 EUR

Lot 39 - Couple of Apsaras; China, possibly Han dynasty, 216 BC - 220 AD. Carved stone. It presents faults. Measurements: 38 x 57 x 19 cm (x2); 47 x 57 x 18 cm (with bases, x2). Pair of Apsaras or dancers made in carved stone. In spite of the similarities, each of the protagonists has been carved independently, since while one holds a flute, the other holds a drum in her hands. Both have been carved with a special interest in capturing the movement that can be seen in the posture, in both cases half lying down and with their legs crossed. Despite this dynamism, the author maintains the restraint that can be seen in both cases in the softening of the features of the faces. The apsarás were aquatic nymphs of Hindu mythology. They were always represented around musical elements, as dancers in the court of the demigod Indra in his divine kingdom, Suarga, located on the peak of the sacred mountain Meru. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. They present faults.

Estim. 10 000 - 11 000 EUR

Lot 40 - Banteay Srei style Shiva head; Cambodia, second half of the 10th century. Limestone. Work exhibited at Feriarte 2007. It has very slight damage. Measurements: 32,5 x 16,5 x 20 cm; 44 x 18 x 17 cm (with base). Shiva is one of the gods of the Trimurti or main trinity of Hinduism. He is the destroyer god, together with Brahma, creator god, and Vishnu, conservative god, although he does not incarnate the destruction without sense, but that one that also allows the regeneration, the change, the rebirth. Together with his consort Parvati (goddess with double aspect: maternal and demon slayer) he is the father of Ganesha (god of wisdom) and Kartikeia (god of war). In this particular case of the face of this carving it transmits a great dignity based on the symmetry of the features and the delicacy of the carving that is summarized in subtle details of soft carving. The lower part of the neck indicates that this piece was probably originally part of a larger sculpture. Banteay Srei is a 10th century A.D. Cambodian temple dedicated to the Hindu gods Shiva and Parvati, located in Angkor. The temple is known for the beauty of its sandstone lintels, sculptures and pediments.The building and sculptures are mostly constructed of hard red sandstone. The sandstone used for such elaborate carvings had to be of extraordinary quality. In fact, red sandstone is a hallmark of the Banteay Srei style, never used in other Angkor styles. Its hardness is also the reason why, even after a millennium, the Banteay Srei carvings are the best preserved examples of Angkorian relief art, almost unchanged, as there is hardly anything eroded. Work exhibited at Feriarte 2007. It has very slight damage.

Estim. 10 000 - 11 000 EUR

Lot 41 - Bodhisatava; China, Eastern Wei Dynasty, 534-550 or Northern Qí, 550-577. Limestone with remains of polychrome and gilding. Work exhibited at Feriarte 2008. Attached Test MEB-EDAX. Measurements: 108 x 30 x 26 cm. Sculpture made of limestone with remains of polychrome and gilding, mostly visible in the face, hands, torso and feet, although there are also ornamental details where you can see traces of gilding. The round sculpture has a polished finish on the front and back, indicating the technical quality of the sculptor and the piece. This sits on lotus flower petals, as usual. Upright and majestic, the figure rises with a serene face visible through closed eyelids and a slight smile, mudras characteristic of these pieces, as well as the position of the hands. The term bodhisattva designates a being who, by the systematic exercise of the perfect virtues, attains Buddhahood, but renounces to enter the complete Nirvana in order to help and guide all beings, until all of them are liberated. His determining quality is compassion, supported by wisdom and supreme knowledge. A bodhisattva gives active help and is ready to take upon himself the suffering of all beings and to transfer his karmic merit to others; logically, they are the object of veneration by the believers, who feel them closer and see in them guides and help in their needs. Work exhibited at Feriarte 2008. Attached MEB-EDAX test.

Estim. 10 000 - 11 000 EUR

Lot 42 - Lokapala; China, Tang Dynasty, 618-907. Carved limestone. Work exhibited at Feriarte 2008. Attached MEB-EDAX test. It has faults. Measurements: 83 x 37 x 28 cm; 103 x 37 x 22 cm (with base). Image of lokapala made of carved limestone. The lokapala, translated "guardian of the place", are gods who govern the cardinal points in Hinduism and Buddhism vasraiana (Jingangcheng in China). As guardians, they can call the spirits of the other world to their aid, and therefore are usually placed in pairs at the entrance of the tombs. In the Hindu tradition, they are also frequently represented in temples. The Tang dynasty is considered by historians as a moment of splendor of the Chinese civilization, equal or even superior to the Han period. Emerging after a period of despotism under the reign of the cruel Yang Di, it was established by Li Shimin who, moved by filial piety, put his father on the throne before assuming the role of emperor himself and founding the Tang dynasty. Stimulated by contact with India and the Middle East via the Silk Road, the Tang empire experienced a creative boom in numerous fields. Buddhism, which had emerged in India at the time of Confucius, continued to flourish during this period and was adopted by the imperial family, becoming an essential part of traditional Chinese culture. Likewise, the development of the printing press extended the dissemination of written works, giving rise to the golden age of Chinese art and literature. The great cultural opening will result in a fundamentally colorful, expressive and very eclectic art, although it continues to be mainly for funerary use, where the artist remains an anonymous craftsman. Attached MEB-EDAX test. Missing.

Estim. 12 000 - 13 000 EUR

Lot 43 - Trà Kieu style Lakshmi; Vietnam, Champa civilization, 10th century. Sedimentary rock. Attached certificate of authenticity from the specialist Ha Thuc Can. Measurements: 65 x 39 x 26 cm. Sculpture carved in sedimentary rock representing Lakshmi, sitting with her legs crossed and her hands on her knees, her torso naked and her eyes closed in a praying attitude. The piece has not been worked in the back area, a feature that indicates that it was conceived to be seen from the front. As for the carving, the voluptuousness of the forms stands out. Lakshmi is one of the main goddesses of Hinduism. She is the goddess of wealth, fortune, power, beauty, fertility and prosperity and is associated with Maya. Together with Parvati and Saraswati, she forms the Tridevi of Hindu goddesses. Lakshmi is both the consort and the divine energy (shakti) of the Hindu god Vishnu, the Supreme Being of Vaishnavism; She is also the Supreme Goddess in the sect and helps Vishnu to create, protect and transform the universe. Whenever Vishnu descended to Earth as an avatar, Lakshmi accompanied him as a consort, for example, as Sita and Radha or Rukmini as consorts of the avatars of Vishnu, Rama and Krishna, respectively.Trà Kieu was the first capital of the Hindu kingdom of Champa, then called Simhapura, between the 4th and 8th centuries AD. Nothing remains of the ancient city today, except for the rectangular walls. Although the Cham monuments of Trà Kieu, in Quang Nam province, have been destroyed, several magnificent pieces of sculpture associated with the site are still preserved in museums. Attached certificate of authenticity from specialist Ha Thuc Can.

Estim. 20 000 - 21 000 EUR

Lot 44 - Prajnaparamite; Indonesia, Central Java, Majapahit period, 16th century. White sandstone. Attached certificate of authenticity from the specialist Ha Thuc Can. It presents faults and restorations. Measurements: 99 x 51 x 49 cm. Stone stele made of white sandstone, which presents a rectangular structure finished in point as if it were an architectural motif that welcomes a figure carved in high relief. The stone is richly carved, in the lower area there is a rectangular body where there are details in relief arranged as a pedestal with lotus leaves schematized as an ornamental detail. On this base is the main figure carved almost in a round bulge, which is established as the main motif of the carving. The figure, as already mentioned, is framed by the stone itself, which has been carved recreating an architectural space. Prajnaparamita means "the Perfection of Wisdom" or "Transcendental Knowledge" in Mah?y?na. Prajnaparamita refers to a perfected way of seeing the nature of reality, as well as to a particular body of scriptures. Majapahit was a Hindu-Buddhist Javanese empire of Southeast Asia based on the island of Java. Majapahit was one of the last great Hindu-Buddhist empires of the region and is considered one of the largest and most powerful in Indonesian and Southeast Asian history. It is sometimes considered the forerunner of Indonesia's modern frontiers. Majapahit art was the continuation of East Javanese art, style and aesthetics developed since the 11th century during the Kediri and Singhasari period. Unlike the earlier naturalistic, relaxed and fluid figures of the classical Central Javanese style, this East Javanese style shows a more rigid, stylized pose depicted in wayang-like figures, such as those carved in the bas-reliefs of East Javanese temples. Attached certificate of authenticity of the specialist Ha Thuc Can. It presents faults and restorations.

Estim. 20 000 - 30 000 EUR

Lot 45 - Phnom Da style branch, Cambodia, Khmer Empire, pre Angkor period, 17th century. Stoneware. Attached test MEB-EDAX/ U.A Madrid and certificate of authenticity issued by Le My Hao. Measurements: 105 x 32 x 26 cm; 110 x 30 x 21 cm (with stand). Sculpture of Rama made in stoneware representing a young and unadorned body and beautifully rounded belly, wearing a short pleated sarong tied at the front, the long central pleat elegantly culminating in a "fishtail" shape. Rama is an avatar ('descent' of god) of Vishnu. Phnom Da is the name of the mountain located south of the city of Angkor Borei. Today, there are two temples standing on this mountain and several caves. The Khmer Empire was the largest empire in Southeast Asia and its core roughly corresponded to present-day Cambodia. The empire, which had become independent from the kingdom of Srivijaya and eventually replaced the kingdom of Chenla, controlled or made vassals of present-day Malaysia, Thailand, Laos, Vietnam, Myanmar and Indonesia. During the formation of the empire, the Khmer Empire had very close cultural, political and commercial ties with Java first and with Srivijaya, which were located in the south of the empire. Its most important legacy is Angkor, which was the capital of the empire during its heyday. Angkor is the best testimony of the power and wealth of the empire, as well as the diversity of beliefs that followed one another over the centuries. The official religions of the empire were Hinduism and Mahayana Buddhism until Theravada Buddhism was imposed after its introduction from Sri Lanka in the 13th century. Attached MEB-EDAX/ U.A Madrid test and certificate of authenticity issued by Le My Hao.

Estim. 35 000 - 40 000 EUR

Lot 46 - "Oracle Crown"; Tibet, 19th century. Embossed and gilded silver, coral and turquoise. Measurements: 18,5 x 20 x 19 cm. This embossed and gilded silver oracle crown is decorated with turquoise and coral cabochons. The gold work is richly carved and the inside of the crown is provided with a cushion covered with fabric. This type of crown was worn by Tibetan oracles during trances. Bodhisattva figures in their wrathful form also often wear this type of headdress of five skulls, each of which represents one of the five "wisdom" Buddhas, the so-called Five Dhyani Buddhas. Similar crowns were also worn in Mongolia.

Estim. 2 000 - 2 500 EUR

Lot 47 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal, hard stones and enamel. Measurements: 23 cm (larger); 11 cm (smaller). Set of pincushions made of metal with hard stone ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 48 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 21 cm (larger); 5,5 cm (smaller). Set of pincushions made of metal with hard stone ornaments. Used in a decorative way this type of pieces became indispensable objects associated with the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 49 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Coral, turquoise, quartz, jade agate, pearl glass and enamel. Measurements: 21 cm (larger); 13.5 cm (smaller). Set of pincushions made of metal with crystal and hard stones ornaments. Used in a decorative way this type of pieces became indispensable objects associated with the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. Although the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 50 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 28 cm (larger); 7 cm (smaller). Set of pincushions made of metal with hard stone ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 51 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 20 cm (larger); 10 cm (smaller). Set of pincushions made of metal with glass and hard stones ornaments. Used in a decorative way this type of pieces became indispensable objects associated with the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 52 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Coral, turquoise, quartz, jade agate, pearl glass and enamel. Measurements: 18,5 (larger); 8 cm (smaller). Set of pincushions made of metal with crystal and hard stones ornaments. Used in a decorative way this type of pieces became indispensable objects associated with the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 53 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 28 cm (larger); 9,5 cm (smaller). Set of pincushions made of metal with glass and hard stones ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine dress. The Ching or Qing Dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 54 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 25 cm (larger); 10 cm (smaller). Set of pincushions made of metal with crystal ornaments and hard stones. Used in a decorative way this type of pieces became indispensable objects associated with the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 700 - 800 EUR

Lot 55 - Ceremonial cap; Tibet, XIX century. Silver, turquoise, brass and hard stones. Measurements: 9 x 20 x 20 cm. Tibetan ceremonial cap made of silver, brass, turquoises and hard stones. The jewels themselves are representative of the deities of Ladakh, which protect and guide the wearer through the dangerous human world.

Estim. 500 - 600 EUR

Lot 56 - Ceremonial perak; Tibet, 19th century. Silver, brass, hard stones and turquoise. Measurements: 9 x 20 x 20 cm. The perak is a typical headdress of the ancient aristocracy of the Asian region of Ladakh, in the Himalayas. It consists of a leather strap studded with semi-precious stones, such as lapis lazuli and turquoise. The perak is a symbol among the Ladakhis of the rank and economic position of the woman wearing it. Traditionally, the number of rows of turquoise from front to back signified the status of the wearer: nine rows for the queen of Leh (the capital of Ladakh), seven rows for the more modern aristocracy, five for the marvelites and three for the lower ranks. The jewels themselves are representative of the deities of Ladakh, who protect and guide the wearer through the dangerous human world.

Estim. 500 - 600 EUR

Lot 57 - Ceremonial perak; Tibet, 19th century. Silver, brass, hard stones and turquoise. Measurements: 6,5 x 19,5 x 21,5 cm. The perak is a typical headdress of the ancient aristocracy of the Asian region of Ladakh, in the Himalayas. It consists of a leather strap studded with semi-precious stones, such as lapis lazuli and turquoise. The perak is a symbol among the Ladakhis of the rank and economic position of the woman wearing it. Traditionally, the number of rows of turquoise from front to back signified the status of the wearer: nine rows for the queen of Leh (the capital of Ladakh), seven rows for the more modern aristocracy, five for the marvelites and three for the lower ranks. The jewels themselves are representative of the deities of Ladakh, who protect and guide the wearer through the dangerous human world.

Estim. 300 - 500 EUR

Lot 58 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Gilded metal and enamel. Measurements: 11,5 cm. Pair of pincushions made of metal with blue enameled ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine dress. The Ching or Qing Dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 400 - 500 EUR

Lot 59 - Pincushions for ornamentation; China, Qing Dynasty, 19th century. Metal and hard stones. Measurements: 15 cm. Pair of pincushions made of metal with hard stone ornaments. Used in a decorative way this type of pieces became indispensable objects associated to the most elegant feminine clothing. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the present-day northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining the capital in Beijing throughout this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best works were carried out by schoolchildren and the urban elite.

Estim. 400 - 500 EUR

Lot 60 - Box - ship's scrivener; Anglo-Indian, second half of XIX-XX centuries. Wood and gilded brass. Presents loss of the inner tray and wear. Measurements: 12 x 43,5 x 28 cm. Chest made of wood and gilded brass with a rectangular structure of simple and straight lines. In spite of the simplicity of the form, the piece stands out for its delicate ornamental design. The ornamental work of the North Indian area would reach very high levels of fineness and quality worthy of European works. The western tradition was joined by the roots and cultural inheritance of the places of work where the craftsmen displayed great talent in the execution of the works as well as in the creation of especially novel and original models and decorations. It presents a lack in the inner area of the tray and wear.

Estim. 500 - 600 EUR

Lot 61 - Saddle rug; China, c. 1900. Wool and cotton. Precise cleaning. Measurements: 132 x 61 cm. Carpet used for horseback riding, made of wool and cotton. The Chinese carpets of the Qing Dynasty (1644 - 1911) are very appreciated pieces by collectors, for their designs, knots and colors. They are made with natural dyes, and in this case you can appreciate very intense colors such as green or red, which despite time have not lost their liveliness and brightness. One of the most important characteristics of antique Chinese carpets is that they were all made by hand and in the homes of the artisans. Wool carpets were rarely used for the floor, where felt and matted carpets were laid, as they would have easily deteriorated due to the intense heat and high humidity during the summer. Being regions where the best wool in the world is produced, the quality of the carpets was exceptional. Natural dyes from plants, animals or minerals were used for the patterns. Wool carpets were the favorite of the Chinese people because of their softness, durability and brightness. They were mainly used to cover the benches of the temples, to pray or to hang on the walls. The colors and patterns depended on the region where they were made. Precise cleaning.

Estim. 500 - 600 EUR

Lot 62 - Tray with legs Japan, c. 1900. Lacquer "Wakasa-nuri"; inlaid with mother of pearl. It has slight flaws and marks on the base. Measurements: 14.5 x 36 x 36.5 cm. Lacquered tray. "Wakasa-nuri" is produced in the vicinity of Obama City, Fukui Prefecture. It is said to have originated in the early Edo period (1603-1868) when a craftsman in the service of the Obama domain (present-day Obama City), which controlled the region near Wakasa Bay, created a design depicting the beautiful depths of the sea. The defining elements of Wakasa lacquerware are the creation of patterns with eggshells, seashells and pine needles and the use of togidashi maki-e, a technique that involves raising the pattern by applying multiple layers of lacquer. It has slight flaws and marks on the base.

Estim. 300 - 400 EUR

Lot 63 - Water jug; Ceylon, nineteenth century. Silver plated metal. Measurements: 26,5 x 15 x 15 cm. Pitcher made in silver metal that presents a round base on which sits a globular body that gives way to a long faceted neck. This ends in a round mouth with a semi-spherical lid that is joined with a hinge. Ornamentally the piece has details in the form of gadroons on the base and body and a ring in relief, which joins the neck to the body.

Estim. 300 - 400 EUR

Lot 64 - Garden table; India, 20th century. Cast iron. Presents rust stains and wear. Measurements: 67 x 67 cm. Sculptural foot table with a leaf-shaped finish. From the base the shaft also simulates vegetal elements. Finally, there is the circular top or tabletop, decorated with an openwork design. This type of furniture was considered for centuries the most luxurious and valuable pieces of furniture, maintained in all collections and noble houses despite changes in fashion, and finally revalued in the nineteenth century within the context of historicism. Rust stains and wear.

Estim. 400 - 600 EUR

Lot 65 - Incese holder; Tibet, 19th century. Embossed brass. Presents flaws in the chain and wear. Measurements: 36 x 5 x 5 x 5 cm. Incense burner made of embossed brass with a rich ornamentation. The piece has the eight auspicious symbols of Tibetan Buddhism. It is believed that they are the symbolic representation of the transitory universe. These symbols are; the umbrella which grants protection from all evil, the white conch shell which represents the fame of the teachings in all directions as the sound of the conch shell, the two golden fish which symbolize being saved from the ocean of earthly life and suffering, the knot of eternity represents the union of wisdom and compassion, the perfection of knowledge, the vase of great treasures, a traditional symbol of good fortune representing the perfect nature of dharma, longevity and prosperity, the banner of victory representing knowledge over ignorance, overcoming all obstacles and attaining happiness, the lotus flower symbolizing enlightenment and mental purity, and the eight-spoked wheel.

Estim. 200 - 300 EUR

Lot 66 - Taoist staff; China, Qing dynasty, 19th-20th century. Carved wood and metal tip. It has slight flaws and rust stain. Measurements: 129 x 5 x 4,5 cm. The Ching or Qing dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the current northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, maintaining during all this time the capital in Beijing. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best work was done by schoolchildren and the urban elite in calligraphy and painting, both areas of great interest to the court. Even cuisine was elevated as a cultural pride in this period, picking up elements from the past and working on them to reach new heights. Slight flaws and rust stain.

Estim. 200 - 300 EUR

Lot 67 - Staff or Malacca; China, Qing dynasty, XIX-XX centuries. Carved wood. It has slight flaws. Measurements: 98 x 9 x 7 cm. In the military traditions the baton, known as Malacca cane, is made of Malacca cane (rattan) and owes its name to the port city of Malacca, in present-day Malaysia. It presents minor faults.

Estim. 200 - 300 EUR

Lot 68 - Dha or sword; Thailand, 19th century. Embossed and enameled brass. It has rust and flaws. Measurements: 78 x 4,5 x 4 cm. The term Dha in Thai language is used to refer to a single-edged sword. The term dha is conventionally used to refer to a wide variety of knives and swords used by many people throughout Southeast Asia, especially in present-day Myanmar. The dha may have its origins with the Burmese people and the Thai people, who migrated to the area from present-day Yunnan province in southern China. Rust and flaws.

Estim. 200 - 300 EUR

Lot 69 - Tibetan Dragon, 16th-17th century. Embossed copper. In good condition. Provenance: European private collection. Measurements: 26,5 x 28 x 8 cm. This spectacular dragon's head stands out for its exuberant polychromy: on a golden background that covers the entire surface, the eyes and eyebrows of the fierce animal have been polychromed, adopting an expectant attitude. The plumage surrounding the head is characterized by the intense green color. The rest of the face is defined by a careful and meticulous detailing that gives it a fierce character. The dragon represents the power of change in nature, the Tao, as well as the concept of yang (masculine), and is related to the weather as the bringer of rain and water.

Estim. 5 500 - 6 000 EUR

Lot 70 - Pair of baluster vases; China, Qing Dynasty, Qianlong Period, 1736-1795. Glazed porcelain and gilt bronze mounts. One of the mounts is missing. They have an inscription on the base. Measurements: 64,5 x 25,5 x 25,5 cm (x2). Pair of baluster vases made of porcelain enameled in blue, known as "powder blue". Both pieces have vegetal ornamentation in white on blue and elements in relief such as the dragons that act as handles. The mouths are adorned with gilded bronze mounts in which different fruits such as bunches of grapes are represented. The Qianlong emperor, belonging to the Qing dynasty, ruled China between 1736 and 1795, and is remembered to this day as one of the most cultured emperors and one of the most important in terms of art collecting. His long reign was a particularly interesting time in Chinese history. At the time, the country was the richest and most populous nation in the world. Qianlong was able to preserve and foster his own traditions of Manchu hunter and warrior, and combined them with the adoption of Confucianism's principles of political and cultural leadership, thus achieving an effective and stable government. In fact, it was precisely his ability to adopt Chinese customs, while still honoring his Manchu tradition, that made him one of the most successful emperors of the Qing dynasty. Qianlong studied Chinese painting, and especially enjoyed the art of calligraphy, highly regarded in this culture, conceived in fact as the highest of the arts. One of the saddles is missing.

Estim. 7 000 - 8 000 EUR

Lot 71 - Buddha; China, Quing Dynasty, 17th-18th century. Gilt copper. Presents seals. It has a perforation on the back. Measurements: 19 x 11.5 x 9 cm. The position of the hands and the posture of the figure indicate that it is a representation of Amitayus, the Buddha of Infinite Life. This is the long-lived aspect of the Buddha Amitabha. Amitayus is depicted with singular refinement in this gilded bronze sculpture. Seated in the lotus position, with his hands clasped around his lap and palms upwards, he adopts a mudra, or gesture. The figure stands on a square pedestal, the lower part of which is decorated with calligraphic inscriptions. Above the foot stands the structure on which the richly ornamented Buddha-figure sits, from the base of which the folds of the cloth seem to descend, adorned with a lotus flower, a recurring theme in the representation of life. In a hieratic and stylised manner, the figure of the Buddha is presented seated in a lotus-flower position and performing a sacred gesture or mudra. The base, also in bronze, evokes a synthetic lotus flower, worked at different levels. The representation shows several "lakshana", iconographic symbols that identify the Buddhas and bodhisattvas. The first one we see is the chignon hairstyle, a symbol of meditation, concentrated spiritual life and wisdom. Above the headdress, a flame symbolises the light of enlightenment. The eyelids are a symbol of spiritual concentration and also of purity, due to their similarity to the petals of the lotus, and complete a serene face with a sketched smile, symbolising the balance and serenity of a perfect being. The elongated earlobes, in this particular case adorned with lotus flowers as earrings, allude to the large earrings worn by members of the upper classes in India at the time of Sakyamuni, and represent the concepts of greatness, nobility and wisdom. Buddha attained the ultimate evolutionary perfection, turning suffering into happiness for all living beings. Born around 560 BC, his father was a raja who ruled the north-eastern province of India. At the age of 29, the young prince gave up his life of luxury, as he felt compelled to purify his body and turn it into an instrument of the mind by ridding it of earthly temptations.

Estim. 4 000 - 5 000 EUR

Lot 72 - Pair of Kangxi Dynasty dishes. China, 18th century Glazed porcelain. Measures: 39.5 cm. diameter. The cobalt blue on white acquires in this pair of dishes a rich variety of tonal ranges, in order to represent with great refinement the plastic qualities of idyllic landscapes and court scenes. Seats and eaves alternate with vegetal compositions and stylised female figures in their chambers. They follow models from the Kangxi period. The Kangxi Emperor was one of the most important monarchs in Chinese history, and in fact his reign of 61 years, parallel to that of Louis XIV in France, is the longest in Chinese history, and established the power of the new Qing dynasty. It was a period of cultural splendour, thanks in large part to the emperor's own intense artistic patronage. As the Qing was a dynasty of foreign (Manchu) origin, Kangxi strove to assert his legitimacy as China's absolute monarch by striking a balance between respect for Manchu traditions and Chinese forms of government, and by assuming the role of an enlightened ruler on the Confucian model. The emperor himself practised calligraphy and painting, the two most highly regarded arts in China, and maintained Zhu Xi's Neo-Confucian canon as the standard of culture on which the imperial examinations were based. In this way, the Kangxi Emperor promoted the idea of the new dynasty as the legitimate successor of the previous Ming dynasty, extolling the achievements of the former Ming dynasty. The emperor did much to support literature, and also promoted the fine arts. In 1661, the imperial workshops were founded in Beijing, where courtly sumptuary objects, ranging from porcelain to paintings and ritual objects, were produced. Silk production workshops were also established at this time in the southern cities of Suzhou, Hangzhou and Jiangning.

Estim. 12 000 - 14 000 EUR

Lot 73 - Buddha. Burma, XIX century. Carved and gilded wood. Inlaid with colored crystals. Wooden pedestal painted in black. It shows wear. Measurements: 120 x 52 x 20 cm (total height). Round sculpture in carved and gilded wood, from Burma (now Myanmar) and dated in the nineteenth century. It represents the Buddha in full body, standing and holding with both hands with long fingers the lower part of his sumptuous robe, which falls in neat folds and is trimmed with rhinestones. Several "lakshana" or iconographic symbols identify him. The first we see is the bun hairstyle, symbol of meditation, of spiritual life. As for the half-closed eyes and the arched eyebrows, a serene face is completed by the sketched smile, symbol of the balance and serenity of a perfect being. The elongated earlobes allude to the large earrings worn by members of the upper classes in India at the time of Sakyamuni, and represent the concepts of greatness, nobility and wisdom.

Estim. 5 000 - 6 000 EUR

Lot 74 - Vietnamese treasure of the 18th century. Bronze and ceramic. Measurements: 16 x 19,5 x 19,5 cm. Original 18th century pot filled with approximately 3,500 Vietnamese cash coins. A cash coin pot is a round pot with a hole filled in the middle. Batches of 100 cash coins were placed in it. "Vietnam Cash" coins are much harder to come by than "Chinese Cash" coins. It is rare to see perfect strings of coins rolled over and over, there were three jars, but the auction house disassembled one to see how many coins it contained and the other was sold. This is truly a museum quality piece. Of course, an interior designer would love it, as they are as rare and perhaps even unique as treasure jars are.

Estim. 4 000 - 4 200 EUR

Lot 75 - Large Chinese furniture, ca. 1920. Carved wood. In good condition. Measurements: 194 x 113 cm. Great Chinese furniture made up of two bodies, the lower one with two doors entirely carved representing intricate plant motifs and the upper one as a cabinet with a glass door and two shelves. The slats that define the upper body are also profusely carved. A typically oriental fretwork border outlines the upper part of the cabinet, embellished with flamboyant ornaments and mythological animals.

Estim. 3 500 - 4 000 EUR

Lot 76 - Katar; India, Mughal period, 18th century. Silver plated bronze. Measurements: 45 x 9 x 2,5 cm. The katar is a type of thrusting dagger from the Indian subcontinent.The weapon is characterized by its horizontal H-shaped hilt, which brings the blade above the knuckles of the user. Unique to the Indian subcontinent, it is the most famous and characteristic of Indian daggers. Ceremonial katars were also used in worship.

Estim. 2 800 - 3 000 EUR

Lot 77 - Chinese export folding screen, 19th century. Six panels. In lacquered wood. It shows marks of use, wear and some flaws in the lacquer. Measurements: 183 x 40 cm. each panel. Screen of six panels or leaves whose front side has been painted with a large folkloric scene hand painted with bright colors on a black lacquer background. Courtesan ladies move, in hissing silk robes and exuberant headdresses, from terrace to terrace of gardens blooming with chrysanthemums. Palatial architecture combines pagodas and open pergolas. Serpentine clouds fray across the sky, following the landscape patterns of traditional Chinese painting. The lower part of each panel is decorated with a Fu dog, also painted on a black background. This genre of paintings with terraces, set in the Chinese imperial court, was a typology in great demand by Europeans, which led to its establishment as a genre of its own in folding screens, fans and free-standing paintings destined for export.

Estim. 1 400 - 1 800 EUR

Lot 78 - Pair of plates Kangxi Dynasty. China, 17th-18th century Glazed porcelain. Measures: 42 cm. diameter. Two dishes made of glazed pocelana, in which the bichrome between cobalt blue and white stands out. The seats are decorated with idealised representations of lake landscapes and pilgrims. Butterflies are intertwined with vegetal fretwork on the eaves. They are modelled on the Kangxi period. The Kangxi Emperor was one of the most important monarchs in Chinese history, and in fact his reign of 61 years, parallel to that of Louis XIV in France, is the longest in Chinese history, and established the power of the new Qing dynasty. It was a period of cultural splendour, thanks in large part to the emperor's own intense artistic patronage. As the Qing was a dynasty of foreign (Manchu) origin, Kangxi strove to assert his legitimacy as China's absolute monarch by striking a balance between respect for Manchu traditions and Chinese forms of government, and by assuming the role of an enlightened ruler on the Confucian model. The emperor himself practised calligraphy and painting, the two most highly regarded arts in China, and maintained Zhu Xi's Neo-Confucian canon as the standard of culture on which the imperial examinations were based. In this way, the Kangxi Emperor promoted the idea of the new dynasty as the legitimate successor of the previous Ming dynasty, extolling the achievements of the former Ming dynasty. The emperor did much to support literature, and also promoted the fine arts. In 1661, the imperial workshops were founded in Beijing, where courtly sumptuary objects, ranging from porcelain to paintings and ritual objects, were produced. Silk production workshops were also established at this time in the southern cities of Suzhou, Hangzhou and Jiangning.

Estim. 6 000 - 7 000 EUR

Lot 79 - Pair of dishes; China Qing Dynasty, Kangxi period, 18th century. Glazed and enameled porcelain. They have slight flaws. They have marks on the base under glaze. Measurements: 6,5 x 35,5 cm (x2). Pair of porcelain dishes with blue and white decoration. Emperor Kangxi was one of the most important monarchs in the history of China, and in fact his reign of sixty-one years, parallel to that of Louis XIV in France, is the longest in the history of the country, and established the power of the new Qing dynasty. His was a period of cultural splendor, thanks largely to the intense work of artistic patronage developed by the emperor himself. Since the Qing was a dynasty of foreign (Manchu) origin, Kangxi strove to reaffirm his legitimacy as absolute monarch of China through the search for a balance between respect for Manchu traditions and Chinese forms of government, also assuming the role of an enlightened ruler of Confucian model. The emperor himself practiced calligraphy and painting, the two most highly regarded arts in China, and maintained Zhu Xi's Neo-Confucian canon as the cultural yardstick on which the imperial examinations were based. In this way, the Kangxi Emperor promoted the idea of the new dynasty as the legitimate successor of the previous Ming dynasty, extolling its achievements. The emperor developed an important work to support literature, and also promoted the fine arts. In 1661 the imperial workshops were founded in Beijing, where sumptuary objects were produced for the court, from porcelain to paintings and ritual objects. Silk production workshops were also established at this time in the southern cities of Suzhou, Hangzhou and Jiangning. They have slight flaws. They have marks on the base under the glaze.

Estim. 3 500 - 4 000 EUR

Lot 80 - Foo's dog. China, 20th century. Stone. Very slightly damaged. With inscription of provenance on the base. Measurements: 16 x 7 x 12 cm. Small foo dog carved in stone. The foo dog, similar to a lion, is an important symbol in the Chinese Taoist culture and, due to its influence, also in the Japanese and Thai cultures. It is identified with protection against evil spirits, and hence they are often depicted in pairs at the entrance of temples, imperial tombs, palaces, government buildings, etc. They are also known as Imperial Guardians, and were very common in traditional Chinese art. They are attributed with mythical powers of protection, and appear as early as the Han Dynasty (206 BC - 220 AD) at the entrance of important buildings. Today, foo dogs are still common as decoration and symbolism at the entrance of all kinds of buildings, from hotels to supermarkets. In fact, foo dogs can be found both in China and in other countries with a Chinese emigrant population.

Estim. 2 000 - 3 000 EUR

Lot 81 - Four-armed Avalokiteshvara. Tibet, 18th-19th century. Bronze. Measurements: 43 x 30 x 19 cm. Bronze sculpture which sits on a detachable base, also in bronze, with a flower-like structure, a common feature in the representations of Buddha. It is a representation of Avalokiteshvara, a bodhisattva who embodies the compassion of all Buddhas. This bodhisattva is variously depicted, described and portrayed in different cultures as either male or female. Etymologically it means "the lord who looks down, who appreciates and takes into account all beings". Avalokiteshvara is the bodhisattva of compassion. He is one of the most widely revered bodhisattvas in mainstream Mahayana Buddhism, as well as unofficially in Theravada. He is known in Tibet as Chenrezig, in China as Chenrezig and in Japan as Kannon. In Tibetan Buddhism, the Dalai Lama is considered to be an incarnation of Avalokiteshvara. A well-known Buddhist legend narrates that Avalokiteshvara vowed never to rest until he had liberated all sentient beings from samsara. Despite his strenuous effort, he realised that there were still many unfortunate beings to be saved. After struggling to understand the needs of all, his head was divided into eleven parts. Amitabha Buddha, observing his plight, gave him eleven heads to hear the cries of the suffering. Hearing these cries and understanding them, Avalokiteshvara tried to reach out to all those in need of help, but found that his arms were shattered. Once again, Amit?bha came to his aid and endowed him with a thousand arms so that he could help the suffering multitudes. Many Himalayan versions of this tale include eight arms with which Avalokite?vara skillfully holds the dharma, each of which possesses its own particular implement, while the more specific Chinese versions give different accounts of their number.

Estim. 2 000 - 3 000 EUR

Lot 82 - Kangxi bowl. China, 18th century. Enamelled porcelain. With signature on the base. Restored. Measures: 10 x 21 cm. Bowl of Kangxi period in enamelled porcelain, in which the bichrome between the cobalt blue and the white stands out. On the walls of the bowl there are aquatic scenes with scaled fish and underwater algae. The upper profile is lobed. The Kangxi Emperor was one of the most important monarchs in Chinese history, and in fact his reign of 61 years, which paralleled that of Louis XIV in France, is the longest in Chinese history, and established the power of the new Qing dynasty. It was a period of cultural splendour, thanks in large part to the emperor's own intense artistic patronage. As the Qing was a dynasty of foreign (Manchu) origin, Kangxi strove to assert his legitimacy as China's absolute monarch by striking a balance between respect for Manchu traditions and Chinese forms of government, and by assuming the role of an enlightened ruler on the Confucian model. The emperor himself practised calligraphy and painting, the two most highly regarded arts in China, and maintained Zhu Xi's Neo-Confucian canon as the standard of culture on which the imperial examinations were based. In this way, the Kangxi Emperor promoted the idea of the new dynasty as the legitimate successor of the previous Ming dynasty, extolling the achievements of the former Ming dynasty. The emperor did much to support literature, and also promoted the fine arts. In 1661, the imperial workshops were founded in Beijing, where sumptuary objects were produced for the court, ranging from porcelain to paintings and ritual objects. Silk production workshops were also established at this time in the southern cities of Suzhou, Hangzhou and Jiangning.

Estim. 1 500 - 1 800 EUR

Lot 83 - Pair of Imari vases; Japan, Arita period late nineteenth century. Glazed porcelain. It has slight damage and one of them has a fracture line. They have marks on the base. Measurements: 91 x 34 cm (x2). Pair of vases of ovoid body, completely enameled with profusion of vegetable, floral and fruit motives: the corollas wave gracefully on stylized bouquets in cerulean and earthy tones on white. In addition, both the front and reverse sides are also decorated with figurative scenes. The long neck opens with a mouth in a wavy rim. The main characteristic of the Imari style is the use of underglaze cobalt blue glaze, combined with other overglaze glazes, mainly iron red and gilding. When it also includes gilding, as we see here, it is called Imari Nishiki. Imari pieces were produced in Japan from the third quarter of the seventeenth century until 1730-35, although there was a revival of the style during the nineteenth century. Decoratively, Imari is very free, with compositions that occupy the entire space of the piece, generally asymmetrical, combining different motifs and cartouches of various shapes, as we see here. It presents slight damages and one of them has a fracture line.

Estim. 2 000 - 3 000 EUR

Lot 84 - Pair of Kangxi Dynasty dishes. China, 18th century Glazed porcelain. Measures: 22.5 cm. diameter. The cobalt blue on white acquires in this pair of dishes a rich variety of tonal ranges, in order to represent with great refinement the plastic qualities of idyllic landscapes and genre scenes. Seats and eaves alternate with vegetal compositions and male figures in interiors. They follow models from the Kangxi period. The Kangxi Emperor was one of the most important monarchs in Chinese history, and in fact his reign of 61 years, parallel to that of Louis XIV in France, is the longest in the country's history, and established the power of the new Qing dynasty. It was a period of cultural splendour, thanks in large part to the emperor's own intense artistic patronage. As the Qing was a dynasty of foreign (Manchu) origin, Kangxi strove to assert his legitimacy as China's absolute monarch by striking a balance between respect for Manchu traditions and Chinese forms of government, and by assuming the role of an enlightened ruler on the Confucian model. The emperor himself practised calligraphy and painting, the two most highly regarded arts in China, and maintained Zhu Xi's Neo-Confucian canon as the standard of culture on which the imperial examinations were based. In this way, the Kangxi Emperor promoted the idea of the new dynasty as the legitimate successor of the previous Ming dynasty, extolling the achievements of the former Ming dynasty. The emperor did a great deal to support literature, and also promoted the fine arts. In 1661, the imperial workshops were founded in Beijing, where courtly sumptuary objects, ranging from porcelain to paintings and ritual objects, were produced. Silk production workshops were also established at this time in the southern cities of Suzhou, Hangzhou and Jiangning.

Estim. 2 000 - 2 500 EUR

Lot 85 - Wenchang Dijun; China, Dehua, Qing Dynasty, Kangxi Period, 1662-1722. Glazed and enameled porcelain. Measurements: 20.5 x 10.5 x 8.5 cm. Wenchang Wang also known as Wenchang Dijun, is a Taoist deity of Chinese mythology, known as the God of Culture and Literature. He is also sometimes referred to simply as Wen Qu, or Wen. The literal translation of his name would be King of Culture or Flourishing Language. Wenchang Wang is physically represented by a constellation of six stars near the Big Dipper. He sometimes holds a pen and a book that says "Heaven determines literary achievements". Dehua's 'Blanc de Chine' porcelain was noted for the quality of its kaolin, whose white tone of great purity produced a beautiful unctuous glaze that was always respected without adulteration with any color.Undoubtedly, this porcelain enormously sought after since the Tang dynasty, was destined for figures and objects of great importance.

Estim. 1 200 - 1 500 EUR

Lot 86 - Japanese embroidery. MEIJI period, 19th century. "Landscape with river". In silk. Measurements. 178 x 110 cm; 123 x 191 cm (frame). Delicate Japanese embroidery from the Meiji period depicting a bucolic landscape with an arched red wooden bridge, a type of bridge characteristic of the Zen parks of Kyoto. A stream meanders from the mountains and crosses it. It is bordered by lush vegetation. The valley is lined with small wooden houses that blend in with nature. The ensemble composes a landscape characteristic of the Meiji period. In the embroidery, silk threads have been used in shades of ochre, sienna, reddish and intense green, which transmit a vivid and full atmosphere. As the depiction of the vegetation is so precise, they seem to come to life, and the stitches flow like precise brushstrokes.

Estim. 1 600 - 2 000 EUR

Lot 87 - Japanese embroidery. MEIJI period, 19th century. "Landscape with temples". In silk with small details of gold thread. Presents restorations and faults. Measurements. 100 x 178 cm; 191 x 123 cm (frame). Delicate Japanese embroidery from the Meiji period representing a Zen garden with sanctuaries idyllically integrated with nature, as can be seen in the famous sacred parks of Kyoto or Tokyo. The different levels of the grounds are linked by simple stairways flanked by manicured bushes and slender trees. Buddhist and Shinto temples coexist in these sites dedicated to meditation. The embroidery has used silk threads in shades of ochre and sienna that accentuate the melancholic and withdrawn atmosphere that the scene is intended to convey. The craftsman shows a bold mastery of embroidery, even simulating what could be a painting on wood. Japanese textile artists of this period have never been surpassed.

Estim. 1 600 - 2 000 EUR

Lot 88 - Pair of vases; China, Qing Dynasty, Yongzhen period, 1723- 1735. Enameled and glazed porcelain "Batavian ware". Pink family. Featuring gilt bronze mounts; France, Napoleon III, third quarter of the nineteenth century. Measurements: 30 x 29,5 x 20 cm (x2). Pair of Chinese porcelain vases adorned with French bronze mounts. The body style with that brown finish is known as "Batavia Brown" is a decorative style of Chinese export porcelain that uses a brown glaze covering the surface, with or without panels, along with underglaze blue or various glazes such as family pink or Imari. The ware seems to have been named after the city of Batavia (present-day Jakarta), which at the time was the trading center of the Dutch East India Company in Southeast Asia. The decoration also seems to have been especially popular with the Dutch, who may have used the word Batavia as a synonym because of the Chinese scrap trade and transshipment to Dutch ships via Batavia. Export items with this decoration were common during the first half of the 18th century and included round dishes, vases, teapots, tea bowls, saucers, lidded pitchers, and other useful items. This style was preceded by a similar style in light celadon green, with or without underglaze blue combinations, which appeared between 1660 and 1680 on both Japanese Arita ware and Chinese porcelain. One of the earliest examples of "Batavian" style iron brown glazes with wucai style glazes within panels is a square bowl of Japanese Arita ware dated 1699. They feature gilt bronze mounts; France, Napoleon III, third quarter of the 19th century.

Estim. 1 200 - 1 500 EUR

Lot 89 - "Dipankara Buddha". Nepal, 19th century. Gilded and polychrome bronze, inlaid with precious stones. Measurements: 25.5 x 11 x 11 cm. In Nepal, the iconography of the Dipankara Buddha is characterised by its own peculiarities: instead of being represented seated, he is usually standing, and instead of raising only his right hand, he uses both hands to trace in the air the drawing of a protective mudra. These are attributes we recognise in this gilded bronze sculpture. The figure, despite its elegant and proportionate canon, has large hands to focus attention on them. His face conveys spiritual serenity. His features are symmetrical and are adorned with a sumptuous crown, as is the sumptuous robe he wears, indicating his princely origin. Buddha attained the highest evolutionary perfection, turning suffering into happiness for all living beings. Born around 560 BC, his father was a raja who ruled the north-eastern province of India. At the age of 29, the young prince gave up his life of luxury, as he felt compelled to purify his body and turn it into an instrument of the mind by ridding it of earthly temptations.

Estim. 1 300 - 1 600 EUR

Lot 90 - Saumador or censer. Japan, Meiji period, last third of the 19th century. Patinated bronze. Some flaws. Loose handles. Signed on the back. Measurements: 48 x 40 x 24 cm. This censer is characterised by its markedly sculptural nature. The body of the censer rests on three legs, which take the form of figures with their arms raised. The body of the vessel is decorated with a continuous medi-relief of bovids and other wild animals, from which emerge two large handles decorated with hybrid animalistic motifs (jaws, claws and feathers combined in a single body, giving rise to a terrifying creature). The lid features a depiction of a Foo's dog in round bulge. The Foo dog, similar to a lion, is an important symbol in Chinese Taoist culture and, through its influence, also in Japanese and Thai culture. It is identified with protection against evil spirits, which is why it is often depicted in pairs at the entrance of temples, imperial tombs, palaces, government buildings, etc.

Estim. 1 500 - 1 800 EUR

Lot 91 - Dish; China for Portuguese export; Ming dynasty, Wanli period (1573-1619). Kraak porcelain. Provenance: private collection conceived since the 1970s between London and Madrid. Measurements: 28 cm (diameter). Dish made of enamelled porcelain designed for Portuguese export. The piece shows a design in the usual white and blue so characteristic of this type of pieces, with figurative motifs in the centre as it presents a landscape scene featuring birds. The Alero is divided into cartouches, all of which are decorated. Kraak ware or Kraak porcelain is a type of Chinese export porcelain produced mainly in the late Ming dynasty, in the reign of Wanli (1573-1620), but also in Tianqi (1620-1627) and Chongzhen (1627-1644). It was one of the first Chinese export items to arrive in Europe in large quantities and was frequently featured in Dutch Golden Age still-life paintings.

Estim. 700 - 900 EUR

Lot 92 - Tureen. China, Quianlong period, 18th century. Enamelled porcelain. Measurements: 10 x 19 x 13 cm. Tureen made in enamelled ceramics that presents a decoration with oriental motifs, like villages with pagodas, typical of the Qianlong epoch they were made for the export market to Europe. The lid has a handle in the shape of a Foo dog, an important symbol in Chinese Taoist culture and, because of its influence, also in Japanese and Thai culture. It is identified with protection against evil spirits, which is why they are usually represented in pairs at the entrance of temples, imperial tombs, palaces, government buildings, etc. They are also known as Imperial Guardians, and were very common in traditional Chinese art. The Qianlong emperor, belonging to the Qing dynasty, ruled China between 1736 and 1795, and is remembered to this day as one of the most cultured emperors and one of the most important in terms of art collecting. His long reign was a particularly interesting moment in Chinese history. At that time, the country was the richest and most populous nation in the world. Qianlong was able to preserve and foster his own Manchu warrior and hunter traditions, and combine them with the adoption of Confucian principles of political and cultural leadership, thus achieving an effective and stable government. Indeed, it was his ability to adopt Chinese customs while honouring his Manchu tradition that made him one of the most successful emperors of the Qing dynasty. Qianlong studied Chinese painting, and especially enjoyed the art of calligraphy, which was highly regarded in this culture, indeed conceived as the highest of the arts.

Estim. 700 - 800 EUR

Lot 93 - "Dipankara Buddha". Nepal, 19th century. Bronze, inlaid with coral and turquoise. Size: 25.5 x 11 x 11 cm. In Nepal, the iconography of the Dipankara Buddha is characterised by its own peculiarities: instead of being represented seated, he is usually standing, and instead of raising only his right hand, he uses both hands to trace in the air the drawing of a protective mudra. These are attributes we recognise in this bronze sculpture. The figure, despite its elegant and proportionate canon, has large hands to focus attention on them. His face conveys spiritual serenity. His features are symmetrical and are adorned with a sumptuous crown, as is the sumptuous robe he wears, indicating his princely origin. Buddha attained the highest evolutionary perfection, turning suffering into happiness for all living beings. Born around 560 BC, his father was a raja who ruled the north-eastern province of India. At the age of 29, the young prince gave up his life of luxury, as he felt compelled to purify his body and turn it into an instrument of the mind by ridding it of earthly temptations.

Estim. 1 300 - 1 600 EUR

Lot 94 - Pair of dishes. China, India Company, eighteenth century. Glazed porcelain. Measurements: 24 cm. (diameter). Pair of dishes with polylobed profile, in porcelain decorated with cobalt enamels on white engobe. An exuberant floral bouquet appears inscribed on the seat and vegetable compositions decorate the eaves. Chinese manufacturers soon realized that Europeans did not understand porcelain and produced export porcelain, vulgar, even flawed, but which in the eyes of Westerners turned out to be authentic works of art. Once the trade was regularly organized, the India Companies supplied Chinese artists with European models, both for forms and decoration. Throughout the 18th century, the blue and white series persisted, but of inferior quality, which was then called Nanjing porcelain, and especially the famille rose type.

Estim. 600 - 700 EUR

Lot 95 - Chinese tureen, 18th century. Enamelled porcelain. Restored. Measurements: 21 x 24 x 18 cm. Chinese tureen made of enamelled porcelain, with fruit and foliage elements worked in relief on the lid. Vegetable bouquets decorate the surface of both pieces, bowl and lid, in cobalt blue enamel on white.

Estim. 500 - 600 EUR

Lot 96 - Chinese tureen, 18th century. Enamelled porcelain. With Peter G. Wells Antiquities label. Measures: 18 x 23 x 23 cm. Chinese tureen in porcelain enamelled in cobalt blue on white, decorating the recipient and the lid with floral bouquets together with slight architectural elements, completing the ornamentation with reticular and vegetable fretwork. The side handles are in the shape of scallops.

Estim. 500 - 600 EUR

Lot 97 - Vase adapted as a lamp. China, 20th century. Enamelled porcelain. Signed on the base. Measurements: 37 cm. height vase; 70 cm. total height. Chinese vase adapted to a table lamp base, with truncated cone-shaped lampshade. The vase is enamelled with floral bouquets with carmine and mauve corollas, on emerald and dark blue stems. The base is edged with yellow vegetal fretwork.

Estim. 400 - 500 EUR

Lot 98 - Qing dynasty vase. China, 19th century. White porcelain decorated by hand in cobalt blue. Presents marks of use. Measurements: 35 cm (height); 20 cm (largest diameter). Chinese porcelain vase in white porcelain hand decorated in blue with scenes of characters and floral ornaments and borders. The Ching or Qing Dynasty, also known as the Manchu Dynasty, was the last of the Chinese imperial dynasties. Founded in the current northeast of the country by the Manchu clan in 1644, its rule ended with the abdication of the last Emperor in 1912 by the Xinhai Revolution and the establishment of the Republic of China, keeping the capital in Beijing during all this time. In general, traditional art forms flourished in many different and varied levels and formats, thanks to a highly educated upper class, a thriving publishing industry of books, pamphlets, etc., really prosperous cities, and the Confucian emphasis on cultivating the mind. While the Emperors themselves were, on many occasions, outstanding artists (especially in painting), the best work was done by schoolchildren and the urban elite in calligraphy and painting, both areas of great interest to the court. Even cuisine was elevated as a cultural pride in this period, picking up elements from the past and working on them to reach new heights.

Estim. 300 - 350 EUR

Lot 99 - Pair of plates, s.XIX. Enamelled porcelain. Measurements: 23 cm (diameter). Pair of porcelain plates, enamelled in beautiful polychromes in mauve, carmine, amber, green and cobalt blue tones on a white background. Seats and eaves combine floral bouquets with vegetal fretwork.

Estim. 300 - 350 EUR

Lot 100 - Four pieces. China, early 20th century. Enamelled porcelain. Marks on the base. Measurements: 10 x 11 x 8 cm (teapot); 12 cm (diameter of plate). Set of four pieces of porcelain in cobalt blue on white: teapot, plate, bowl and saltcellar. The cobalt blue acquires a rich variety of tonal ranges, in order to represent the plastic qualities of the plant motifs.

Estim. 300 - 350 EUR

22nd May - Oriental Art

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