Lot 3689. A large and rare Longquan celadon Guanyin 'shrine', Ming dynasty, 15th century; 51.3 cm., 20 1/8  in. Estimate 800,000 — 1,200,000 HKD. Lot Sold 2,200,000 HKD (224,366 EUR). Photo Sotheby’s

the Goddess finely modelled seated in 'royal ease' within a rocky alcove on a tiered rockwork throne, dressed in a flowing robe and adorned with elaborate beaded jewellery, her face with gentle smile beneath a high tiara, all framed within an arch applied with a freely modelled bird and the 'Vase of Immortality' perched on ledges amidst scrolling leafy vines and lotus, at the base stand two acolytes on rocky ledges above foaming waves, covered overall in a rich bluish-green glaze save for the faces, hands and some vessels reserved in the reddish-brown biscuit.

Provenance: Collection of Charles Russell (1866-1960).
Sotheby's London, 12th July 1960, lot 123.
Collection of Dr Carl Kempe (1884-1967).
Sotheby's London, 14th May 2008, lot 335.

Literature: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 167.

A slightly smaller two-tiered shrine, in the collection of Mr and Mrs Jack Chia, illustrated in Julian Thompson, ‘Chinese Celadons’, Arts of Asia, November-December, 1993, front cover, was sold in our Hong Kong rooms, 5th November 1996, lot 615; and another, from the Charles Russell collection, is illustrated in R.L. Hobson et. al., Chinese Ceramics in Private Collections, London, 1931, pl. 340. Compare also a larger shrine, from the Edward T. Chow collection, engraved with a date corresponding to 1385, sold in in our London rooms, 16th December 1980, lot 324, and again, 16th June 1998, lot 232.

Lot 3695. A blue and white bamboo-shaped birdfeeder, Mark and period of Xuande (1426-1435); 9.8 cm., 3 3/4  in. Estimate 600,000 — 800,000 HKD. Lot Sold 1,060,000 HKD (108,104 EUR). Photo Sotheby’s

the Goddess finely modelled seated in 'royal ease' within a rocky alcove on a tiered rockwork throne, dressed in a flowing robe and adorned with elaborate beaded jewellery, her face with gentle smile beneath a high tiara, all framed within an arch applied with a freely modelled bird and the 'Vase of Immortality' perched on ledges amidst scrolling leafy vines and lotus, at the base stand two acolytes on rocky ledges above foaming waves, covered overall in a rich bluish-green glaze save for the faces, hands and some vessels reserved in the reddish-brown biscuit.

Provenance: Su Lin An collection. 
Sotheby's Hong Kong, 31st October 1995, lot 316.

Note: A closely related example, in the Shanghai Museum, Shanghai, is illustrated in Mingdai guanyao ciqi [Ming Imperial Porcelain], Shanghai, 2007, pl. 1-33. Two bamboo-shaped bird-feeders, one decorated with a flower scroll and the other, of slightly smaller size, with flower sprays, were recovered at the waste heaps of the imperial kilns of Jingdezhen and included in the Chang Foundation exhibition Xuande Imperial Porcelain Excavated at Jingdezhen, Taipei, 1998, cat. nos 52-2 and 54-3 respectively.

Lot 3688. A fine and rare Longquan celadon basin, 14th century; 26.7 cm., 10 1/2  in. Estimate 600,000 — 800,000 HKD. Lot sold 1,000,000 HKD (101,985 EUR). Photo Sotheby’s

the exquisitely shaped body with deep rounded sides rising from a short straight foot, applied with a briilliant pale-green glaze trasmuting to a sea-green colour at the rim, save for the unglazed footring under the base burnt brownish-orange during the firing.

Provenance: An old Japanese collection.

Note: Longquan celadon bowl of this large size and shape, in the Hakutsuru Fine Art Museum, Kobe, is illustrated in Hakutsuru Eika, Kobe, 1988, pl. 106; another is published in John Ayers, Chinese Ceramics in the Baur Collection, vol. 1, Geneva, 1999, pl. 48; a slightly smaller bowl of this form, in the National Palace Museum, Taipei, was included in the Museum’s exhibition Green-Longquan Celadon of the Ming Dynasty, Taipei, 2012, cat. no. 14; and a larger example was sold in our London rooms, 15th June 1982, lot 267. Compare also two bowls of this form richly carved with a lotus scroll, included in National Palace Museum’s exhibition, ibid., cat. nos 18 and 19; and a slightly smaller example carved with floral sprays, from the Higashi Honganji Temple, Kyoto, sold at Christie’s Hong Kong, 1st June 2011, lot 3811.

Lot 3699. A blue and white tiered box and cover, Ming dynasty, Chenghua period (1464-1487); 15 cm., 5 7/8  in. Estimate 600,000 — 800,000 HKD. Lot Sold 750,000 (76,488 EUR). Photo Sotheby’s

well potted and of circular section, the box comprising three separate trays and a cover of slightly domed form, the sides of the tiers bordered in various tones of cobalt-blue with a continuous lotus scroll issuing large lotus blooms and small curling leaves, the domed cover with two young boys next to floral sprigs and a fence, one boy standing behind the other with his hands on the latter's shoulders whilst the latter holds a lotus stem in his left hand, the sides detailed with a classic scroll band.

Provenance: Collection of Captain W.R. Clarke.
Christie's London, 12th October 1970, lot 20.
J.T. Tai & Co., New York, circa 1972.
Sotheby’s New York, 4th November 1978, lot 56.
Christie’s New York, 13th/14th September 2012, lot 1419.

Note: This charming box is painted with the auspicious motif of two boys playing. A related motif depicting children at play is found on a bowl in the British Museum, London, illustrated in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pl. 6:2.

Chenghua '100 children' bowl. Porcelain with underglaze blue decoration, Ming dynasty, Chenghua period (1464-1487); 21.9 x 10.5 cm. Donated by: A W Roberts (In memory of A. D. Brankston), 1953,0416.2 © The Trustees of the British Museum.

Lot 3781. A rare ‘Pine and Rabbit’ rhinoceros horn libation cup, 17th century; width 15.5 cm., 6 1/8  in. Estimate 2,500,000 — 3,000,000 HKD. Lot Sold 3,160,000 HKD (322,271 EUR). Photo: Sotheby’s.

carved in high relief and openwork with two gnarled pine trees with branches wrapped around the sides, depicted with a hare crouched beneath a full moon and wispy clouds overhead, the interior mouth carved with branches overhanging the lip, the horn of rich chestnut patina.

Provenance: John Sparks, London, 1978.
Collections of Edward T. Chow and Franklin Chow.
Sotheby’s Hong Kong, 8th April 2011, lot 2702.

Exhibited: Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc30.

Literature: Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 170.

Note: Carved with a charming scene of a hare sitting alert with one ear aloft and gazing intently at the half-hidden moon, this cup is imbued with a sense of mystery and vitality through the gently swirling clouds. The balance between the finely carved details and plain polished surfaces accentuates the contrasting textures of the softness of the rabbit and bristly pine trees while cleverly creating a sense of the stillness of the night. Its previous owner, the collector and connoisseur Edward T. Chow, refers to it in his notes as diaogong canglao, wanzheng wu shang, diaogong huayi xi shao (‘The carving has age, it is in perfect condition with no damage, the design is poetic and sparse’).

Rhinoceros horn cups decorated with a hare are rare, and no other closely related cup appears to have been published. Compare a slightly smaller libation cup, carved on the exterior with various animals including a hare, in the collection of Hartman Rare Art, sold in our New York rooms, 5th June 1985, lot 130; and another sold at Christie’s London, 2nd April 1979, lot 24.

The hare is commonly associated with moon festivals, and is believed to inhabit the moon. Together with Chang’e, the goddess of the moon, they stir the elixir of immortality under a cassia tree; a reference strengthened by the fungus of immortality, carved behind the animal. It was also believed that hare were impregnated by gazing at the moon, thus suggesting that vessels decorated with this motif were made as marital gifts with the wish for many descendants.

Lot 59. Panfilo Nuvolone (Cremona 1581 - 1651 Milan), Still Life with a Raised Stand, Peaches, Figs, and a Pumpkin, all on a marble ledge,oil on canvas, 19 7/8  by 19 1/8  in.; 50.5  by 48.5 cm. Estimate 80,000 — 120,000 USD. Lot sold 447,000 USD. Courtesy Sotheby's.

Exhibited: New York, National Academy of Design; Tulsa, Philbrook Art Center; Dayton, Dayton Art Institute, Italian still life paintings from three centuries, 2 February 1982 - 11 September 1983, no. 6;
Berlin, Gemäldegalerie, Staatliche Museen Preussischer Kulturbesitz, Natura morta italiana: Italienische Stillebenmalerei aus drei Jahrhunderten, Sammlung Silvano Lodi, 6 September - 27 October 1985, no. 18;
Milan, Palazzo Reale, Natura Morta Lombardia, 1 December 1999 - 2 April 2000, no. 13;
Turin, Fondazione Accorsi, L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, 30 November 2005 - 1 May 2006,, no. 2.

Literature: J.T. Spike, Italian still life paintings from three centuries, Florence 1983, pp. 33-35, cat. no. 6, reproduced p. 35 (as on panel);
L. Salerno, La natura morta italiana, 1560-1805, Rome 1984, pp. 62-63, reproduced fig. 16.2;
P. Lorenzelli and A. Veca, Forma vera: contributi a una storia della natura morta italiana, exhibition catalogue, Bergamo 1985, p. 156, reproduced fig. 59;
L. Salerno, Natura morta italiana: Italienische Stillebenmalerei aus drei Jahrhunderten, Sammlung Silvano Lodi, exhibition catalogue, Florence 1985, pp. 56-57, cat. no. 18, reproduced;
A. Morandotti, "Panfilo Nuvolone," in F. Zeri, ed., La natura morta in Italia, Milan 1989, vol. I, p. 226 (as not by Panfilo Nuvolone);
G. Bocchi and U. Bocchi, Naturaliter: nuovi contributi alla natura morta in Italia settentrionale e Toscana tra XVII e XVIII secolo, Casalmaggiore 1998, pp. 18, reproduced fig. 3;
A. Magnani, in F. Caroli, ed.,  La natura morta lombarda, exhibition catalogue, Milan 1999, pp. 88-89, cat. no. 13, reproduced;
A. Cottino,  L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, exhibition catalogue, Turin 2005, pp. 36-37, 98, cat. no. 2, reproduced. 

Lot 58. Agostino Verrocchio (ROME 1586 - 1659), Fruit on a stone ledge, oil on canvas, 38 1/8  by 51 1/2  in.; 97 by 131 cm. Estimate 70,000 — 100,000 USD. Lot sold 40,000 USD. Courtesy Sotheby's.

Exhibited: Turin, Fondazione Accorsi, L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, 30 November 2005 - 1 May 2006, no. 9.

Literature: L. Salerno, La Natura Morta italiana, 1560-1805, Rome 1984, p. 103, reproduced, fig. 25.3;
A. Cottino, F. Zeri (ed.), in La natura morta in Italia, Milan 1989, vol. II, p726, reproduced, fig. 863;
A. Cottino, L'Incantesimo dei sensi: Una collezione di nature morte del Seicento per il Museo Accorsi, Turin 2005, p. 58-59, 104, cat. no. 9, reproduced p. 59. 

Lot 38. Neapolitan School, first half of the 17th century, attributed to Giacomo Recco, Still Life of Flowers in a Carafe, a Copper Basin with Glasses and Carafe, Fruit, Taralli and a Glass Bottle, oil on canvas, 39 3/4  by 51 1/8  in.; 101 by 130 cm. Estimate 80,000 — 120,000 USD. Lot sold 162,500 USD. Courtesy Sotheby's.

Literature: G. De Vito, "Un diverso avvio per il primo tempo della natura morta a Napoli," in Ricerche sul '600 napoletano. Saggi e documenti per la storia dell'arte, Milan 1990, pp. 123-124, reproduced fig. 38 (as Attributed to Giacomo Recco);
A. Cottino, L'Incantesimo dei sensi, Una collezione di nature morte del Seicento per il Museo Accorsi, exhibition catalogue, Turin 2005, pp. 62-65, 105, cat. no. 11, reproduced. 

Lot 53. Attributed to Tommaso Salini, called Mao (Rome circa 1575 - 1625), Still Life with Vegetables, Fish, Clams, and a Basket of Citrus Fruit, on a stone ledge, oil on canvas, 38 5/8  by  53 3/8  in.; 98.1 by 135.5 cm. Estimate 50,000–70,000 USD. Lot sold 112,500 USD. Courtesy Sotheby's.

Provenance: With Duse Antiquariato, Brescia. 

Exhibited: Turin, Fondazione Accorsi, L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, 30 November 2005 - 1 May 2006, no. 5 (as attributed to Tommaso Salini).

Literature: A. Cottino,  L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, exhibition catalogue, Turin 2005, pp. 48-49, 101-102, cat. no. 5, reproduced. 

Note: This sharply lit and detailed still life of fish, clams, and a basket of citrus fruit encapsulates the visual tradition prevalent in Rome in the first quarter of the seventeenth century.  With its heightened sense of realism and the dramatic balance of the effects of light and dark, this painting bears close stylistic similarities to a group of works ascribed to the hand of Tommaso Salini, an Italian artist known not only for his still-lifes, genre paintings, and religious scenes, but also as a witness in the lawsuit brought against Caravaggio by Giovanne Baglione.  The still-lifes ascribed to Salini are grouped around a Still Life of Fruit and Vegetables, which is signed and dated 1621 and is the only work of this genre firmly given to the artist.1  Of this varied group, the present work stands out for its richness and quality.  

Lot 54. Giovanni Battista Ruoppolo (Milan 1616 - 1681 Bologna), Watermelon, Melon, Grapes, Apples, Pomegranates, Peaches, Figs and Quinces in a landscape, oil on canvas, 50 by 63 in.; 127 by 160 cm. Estimate 40,000–60,000 USD. Lot sold 16,250 USD. Courtesy Sotheby's.

Provenance: With Gustavo Rol, Turin. 

Exhibited: Turin, Fondazione Accorsi, L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, 30 November 2005 - 1 May 2006, no. 5 (as attributed to Tommaso Salini).

Literature: A. Cottino,  L'incantesimo dei sensi: una collezione di nature morte del Seicento per il Museo Accorsi, exhibition catalogue, Turin 2005, pp. 48-49, 101-102, cat. no. 5, reproduced. 

Note: Though Milanese by birth, Pier Francesco Cittadini moved to Bologna as a young artist and then to Rome in the 1640s.  He initially trained with Daniele Crespi, but once in Bologna he studied under Guido Reni.  His oeuvre includes both portraits (see lot 108) and elaborate tabletop still lifes, many with architectural scenes (as in the present painting) or figures in the background (see lot 56).

Lot 23. An Important Stone Head of Buddha, Indonesia, Central Java, 9th Century; 15 ¾ in. (39.9 cm.) high. Estimate USD 200,000 - USD 300,000. Price realised USD 509,000. © Christie's Images Ltd 2015.

Finely carved with bow-shaped mouth and downcast eyes centered by a raised urna, flanked by pendulous pierced earlobes, the hair in snail-shell curls over the conicalushnisha.

Provenance: With Aaron Vecht, Amsterdam, 1932.
Private Collection, New York, 1939-1960s.
Collection of Robert H. Ellsworth, New York, acquired by 1980.

Literature: A. Juliano, “Robert H. Ellsworth Treasures the East,” Architectural Digest, October 1985, p. 102.
A. Christy, “Not for Sale: A Few of Robert Ellsworth's Favourite Possessions,” Orientations, June 1991, p. 58-59, fig. 5.

Note: This magnificently carved head of Buddha closely resembles the manifold transcendental Buddhas erected in Central Java under the Sailendra Dynasty at the beginning of the 9th century. The forehead extends broadly over heavy lids and a slight, serene smile, giving the Buddha a quiescent and particularly introspective expression. Certain features of this sculpture speak directly to the classical Central Javanese Buddha images of the 9th and 10th centuries, including the clearly defined curls, elongated earlobes and smooth chiseling of the porous volcanic stone. The soft contours, straight nose, and plump lips are reminiscent of Gupta prototypes. The Gupta Empire, spanning from the 4th to 6th centuries, was known for the development of sensual features and balanced volumes that strongly influenced the styles of later kingdoms. The present example, in part due to its material and to local Buddhist considerations, is a distinct development upon this prototype through sensitive, lifelike modeling with subtle contours. 

Two similar examples include the head of a Dhyani Buddha from the Avery Brundage Collection (see R. d'Argence´ et al, Indian and South-East Asian Stone Sculptures from the Avery Brundage Collection, 1969, pp. 86-87) and the head of Buddha in the Rietberg Museum (see J. Fontein, The Art of Southeast Asia; The Collection of the Museum Rietberg Zurich, 2007, pp. 106-107). In each one, the balanced proportions and curved treatment of the rough surface speak to an emphasis on creating outwardly naturalistic and inwardly thoughtful images of Buddha. The Avery Brundage example is most similar to the Ellsworth sculpture in its more pronounced features, including a clear delineation of the eyelids and a gentle smile.

When Robert Ellsworth happened upon this head of Buddha in the 1960s, after an American collector had purchased it from a dealer in Holland in 1932 and brought to America in 1939, he considered it to be “one of the most beautiful volcanic stone heads” from this region and was adamant to keep it in his collection (see A. Christy, “Not for Sale: A Few of Robert Ellsworth's Favourite Possessions,” Orientations, June 1991, pp. 58-59, fig. 5). From its prominent place in the foyer, this head of Buddha continued to grace visitors with a profound lowered gaze and peaceful presence.

Christie's. The Collection of Robert Hatfield Ellsworth Part I - Masterworks Including Indian, Himalayan and Southeast Asian Works of Art, Chinese and Japanese Works of Art, New York, 17 March 2015

Lot 8. A Rare and Important Bronze Figure of a Seated Yogi, Possibly Padampa Sangye Tibet, 11th-12th century; 13 ½ in. (34.2 cm.) high. Estimate USD 1,000,000 - USD 1,500,000. Price realised USD 4,869,000. © Christie's Images Ltd 2015.

Seated in padmasana, hands resting in dhyanamudra, the Indian mystic sits with a slightly turned head covered in thick tufts of hair, his face with wide-open eyes, rounded nose, and slightly parted lips, his nude fleshy body with a rich patina.

Provenance: Christian Humann (d. 1981), New York, before 1976, named the Pan-Asian Collection by 1977.
Collection of Robert H. Ellsworth, New York, acquired in May 1982.

Literature: C. Reedy, “Tibetan Bronzes: Technical Observations,” On the Path to the Void: Buddhist Art of the Tibetan Realm, 1996, pp. 165-168, figs. 4-6.
C. Reedy, Himalayan Bronzes, 1997, cover ill. and p. 193, fig. W134.
M. Rhie, et al., Wisdom and Compassion: The Sacred Art of Tibet, 2000, p. 46, fig. 8.

Exhibited: On loan to the Los Angeles County Museum of Art, 1976-1982 (L.76.24.142).

Note: A masterwork of early Tibetan bronze sculpture and one of Mr. Ellsworth’s most cherished works of art, this superlative depiction of a seated Indian adept, or as Mr. Ellsworth affectionately called him “Yogi”, exudes intensity and power. Rendered in portrait-like fashion, the figure sits in the lotus position, his hands in a gesture of meditation. Though the identification of this figure is not confirmed, his thick coils of tufted hair and a wide-eyed gaze bear close comparison to depictions of the great Indian sage, Padampa Sangye.  

The historical Padampa came to Tibet from India in the second half of the 11th century. According to legend, his father Viryavarman was from a family of jewel merchants and was perhaps also a sea captain. Padampa's mother, Barasaha, was from a family of incense-makers. Padampa is said to have been a skye ba bdun pa, one "born as a Brahmin for seven births in a row." Padampa travelled widely throughout his life and spent many years practicing meditation in sacred Buddhist sites, including Bodh Gaya in North India and Svayambhunath Stupa, in the Kathmandu Valley. He also practiced in jungles and cemeteries throughout South Asia, including the famous cemetery of Sitavana where many Buddhist adepts trained. He spent the final years of his life in retreat and teaching in Dingri in Southern Tibet.

The Ellsworth figure can be compared with four other works depicting Padampa Sangye. The first is from the collection of Nyingjei Lam, (R. Linrothe, Holy Madness: Portraits of Tantric Siddhas, 2006, pp. 362-323, cat. no. 78) and shows Padampa Sangye seated in a gesture of pacification with a cloth loosely draped over his shoulder and legs. The second, a 14th century painting from the collection of Stuart Cary Welch, (himalayanart.org, item no. 59965) depicts the brown-skinned sage with his hands performing the gesture of teaching. A third portrayal, a painting from the collection of the Rubin Museum depicts a seated blue figure with the name Dampa Gyagar Nagchung, another title for Padampa Sangye, in an inscription on the reverse of the painting (himalayanart.org item no. 89141). The fourth, also from the Rubin Museum, is a 15th century sculpture of Padampa who is shown seated with his right hand raised in a gesture of salutation. All share three distinguishing features of Padampa Sangye: the presence of thick, pointed tufts of hair, a symbol of asceticism; an intense wide-eyed gaze, suggesting an awakened state of consciousness; and a robust nude or partially nude body, indicative of yogic prowess.

One of the earliest known sculptural depictions of a mystic, the Ellsworth image powerfully captures the concept of the icon as a vessel for transmitting benedictions. The intensity of his gaze, exaggerated by a high thin brow, commands the viewer to make eye contact and imbibe the teacher’s wisdom. His thickly coiled hair resembles the snail shell-like curls of the Buddha. The prana-filled torso conveys the vigor and strength of an accomplished yogi. Padampa had a magnetic personality, and the master artist who realized this sculpture has infused it with the same intense wisdom as the master teacher.

Placed on his bedroom headboard, Mr. Ellsworth slept beneath the watchful gaze of this ancient master. So cherished was this sculpture in the Ellsworth household that when it was sent to the Los Angeles County Museum in the mid 1980s for a metallurgic survey, his housekeeper, noticing the work had been removed, threatened to resign if the beloved work was not returned promptly. Eventually returned to its rightful place on the headboard and never to travel again, harmony was restored to the Ellsworth household (Anita Christy, "Not for Sale: A Few of Robert Ellsworth's Favourite Possessions", Orientations 22 no., 6 June 1991, p. 56-62). Rarely do works of such iconic and supreme distinction come onto the market.

Christie's. The Collection of Robert Hatfield Ellsworth Part I - Masterworks Including Indian, Himalayan and Southeast Asian Works of Art, Chinese and Japanese Works of Art, New York, 17 March 2015

Lot 26. A Rare and Highly Important Bronze Figure of Shiva Gangadhara Nataraja, South India, Tamil Nadu, Chola Period, 9th Century; 16 ¼ in. (41.2 cm.) high. Estimate USD 2,000,000 - USD 3,000,000. Price realised USD 2,853,000. © Christie's Images Ltd 2015.

Dancing over the dwarf Apasmarapurusha with his left leg raised, his principal right hand in abhayamudra and his principal left hand pointed towards his raised foot, holding a damaru and chakra in his other hands, surrounded by his flowing tresses.

Provenance: Nasli and Alice Heeramaneck Collection, California, before 1971. 
Christian Humann (d. 1981), New York, by 1972, named the Pan-Asian Collection by 1974.
Collection of Robert H. Ellsworth, New York, acquired by 1982.

Literature: P. Pal, The Sacred and Secular in Indian Art, 1974, cat. 3 and cover illus.
J. Casey, et al., Divine Presence: Arts of India and the Himalayas, 2003, pp. 68-69, pl. 10.
N. Eilenberg, “A South Indian Siva Nataraja Bronze in the Collection of Robert Hatfield Ellsworth,” from Living a Life in Accord with Dhamma: Papers in Honor of Professor Jean Boisselier on His Eightieth Birthday, 1997, pp. 162-174.

Exhibited: On loan to Los Angeles County Museum of Art, 1972 (L.72.18.14).
The Sacred and Secular in Indian Art, 26 June – 25 August, 1974, University of California, Santa Barbara (L.72.18.14).

Note: This extraordinary and exceptionally rare image of Shiva depicts him as both Nataraja, the Lord of the Dance, and as Gangadhara, “he who bears the Ganges River.” As Nataraja, he dances in Anantatandava: with his left leg raised, he balances on the dwarf, Apasmarapurusha, the demon of ignorance and indolence. His primary right hand is raised in the reassuring abhayamudra (fear-abiding gesture), while his primary left hand is in gajahasta (elephant-trunk gesture), indicating the defeat of ignorance that hinders the realization of the universal truth. In his secondary right hand, he holds the damaru symbolizing the sound of creation - the Big Bang - whose cosmic vibrations perpetuate the universe. As Nataraja, his other hand should hold agni, the fire which signifies the final destruction out of which a new world will arise. However, as Gangadhara, this flame would be snuffed out by the descent of the Ganges river. Instead, the artist has cleverly substituted a chakra, the quintessential symbol of cyclical time, and which also gives rise to re-creation by its destructive nature. 

Natasha Eilenberg, wife of Sammy Eilenberg, collaborator to Jean Boisselier, and close friend to Mr. Ellsworth, has made a close study of this work. Previously this work has been published as 11th century (see P. Pal, 1974), and more recently it has been dated to the 9th century (see Eilenberg, 1997 and J. Casey, et al., 2003). Initially, Boisselier had observed that the metal alloy was a type used by the Eastern Chalukyas (c. 642-1061 AD), as evidenced by the wear to the face (Eilenberg, 1997, p.166.) In exploring this idea further, Eilenberg also observed a variety of stylistic influences from Pandyan and Pallava times – including the wide headband, motion of the shoulder tassels, arrangement and number of the jatas on the back, and that Apasmarapurusha is playing with two snakes instead of one – all of which support an Eastern Chalukyan origin and earlier casting. According to Eilenberg, “I have yet to see another image of Shiva Nataraja or of Gangadhara where her aquatic descent is depicted so eloquently and gracefully… I might add that [the Nataraja’s] momentum and its grace will seldom be equaled or surpassed by four-armed dancing figures of later Chola art.” 

Lot 30. A Gray Schist Figure of Buddha, Gandhara, 2nd-3rd Century; 34 ½ in. (87.6 cm.) high. Estimate USD 250,000 - USD 350,000. Price realised USD 125,000. © Christie's Images Ltd 2015.

Lot 25. A large and important gilt bronze figure of Avalokiteshvara, Nepal, 13th century; 25 in. (63.4 cm.) high. Estimate USD 2,000,000 - USD 3,000,000. Price realised USD 8,229,000. © Christie's Images Ltd 2015.

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

BOSTON, MASS.- The Museum of Fine Arts, Boston, has received a significant gift of a 17th-century Chinese masterpiece, 10,000 Miles along the Yangzi River ( Wanli Changjiang Tu) (1699), from Wan-go H.C. Weng. The prominent collector, whose family has owned the 53-foot-long scroll since 1875, has donated the work to the Museum on the occasion of his 100th birthday. Created by Wang Hui (1632–1717), the most notable painter of his day in China, the landscape painting evokes a journey along Asia’s longest waterway, the Yangzi (Yangtze) River, and incorporates references to China’s great artistic and poetic traditions. This gift enhances the holdings of paintings from the Qing (1644–1911) dynasty at the MFA, which is renowned for its collection of earlier Song (960–1279) and Yuan (1279–1368) masterpieces. 10,000 Miles along the Yangzi River is the fifth work by Wang Hui to enter the MFA’s collection, following two others given to the Museum by Weng. The scroll’s epic scope and expressive brushwork make it the greatest painting by Wang Hui, who played a key role in reinterpreting earlier traditions of landscape painting—one of the most important artistic innovations of late-imperial China. 

“The MFA is honored to accept this extremely generous gift from Mr. Weng,” said Matthew Teitelbaum, Ann and Graham Gund Director. “This masterpiece by the greatest painter of the Qing dynasty is a transformative addition to our collection. Together with other works in our collection, we are now able to see Wang Hui’s expansive talents across many formats—from monumental hand scrolls to intimate fans—allowing us to explore the full range of the artist’s remarkable abilities. It’s deeply meaningful that on Mr. Weng’s 100th birthday, he has given us such an important gift—one that the public will treasure for generations to come.” 

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

A modern-day Renaissance man—filmmaker, poet, historian and artist—Weng has devoted himself to the preservation and study of China’s cultural heritage. Considered one of the most respected collectors and connoisseurs of Chinese painting, Weng is the current steward of his family’s collection, one that has been handed down through six generations and is among the greatest private holdings of Chinese art in the U.S. He has been a longtime supporter of the MFA, donating 20 important works to the Museum over the years. 

“In celebration of my 100th birthday, I have donated 10,000 Miles along the Yangzi River to the MFA,” said Weng. “This museum has the oldest Asian art department in the U.S., with a collection that includes celebrated masterpieces of Chinese painting, especially from the Song and Yuan dynasties. Wang Hui’s scroll will complement these works. I am honored that the MFA is its final home.” 

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

For six years, Wang Hui served as the favored court artist of the Kangxi emperor. He painted 10,000 Miles along the Yangzi River after leaving imperial service and the city of Beijing in 1699. Just before his departure, he completed a set of 12 handscrolls that depict the emperor’s voyage along the 1,100-mile-long Grand Canal connecting Beijing with the city of Hangzhou and linking the Yellow and Yangzi rivers. Tightly and naturalistically painted, those scrolls are full of figures and architecture in the style preferred by the imperial court. 10,000 Miles along the Yangzi River, by contrast, is a far more personal painting. The artist produced relaxed and expressive brushstrokes, free from the constraints of realism and the stylistic demands of an emperor. Wang Hui spent seven months detailing the mountains, ferries, fishermen, towns, historic landmarks and temples found along the Yangzi. He had never traveled the length of the river himself. Instead, his efforts represented an imaginary voyage through Chinese cultural traditions. Known for his talent at copying earlier masters, he chose a subject rich with artistic, historic and literary references. Wang Hui’s painting harks back to previous depictions of the Yangzi, as well as to many poems and prose works composed long before. Scrolling through and spotting a landmark—such as the Red Cliff (Chi Bi) or Yellow Crane Tower—an educated viewer would have immediately recalled the words to an ancient poem memorized in childhood. 

After its creation, Wang Hui’s painting struck out on its own journey; thrilled with what he felt was his finest work, the artist sent the scroll out into the world. It passed from owner to owner for 150 years before arriving at an antiques shop in Beijing in the 19th century, where it was seen by Weng Tonghe (1830–1904), a high-ranking imperial official. Although enthralled with the work, Weng Tonghe initially turned the dealer down due to the exorbitant price. Within a few months, however, after repeatedly visiting the shop to view the scroll, he decided to forgo the purchase of a new house to acquire the painting. It immediately became Weng Tonghe’s most prized possession, passed down in his family over the centuries, from father to son—most recently, to Weng, his great-great-grandson.

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

“The MFA has a world-class collection of early Chinese paintings, and there’s nothing we would have wanted more to strengthen our holdings than this extraordinary work from the 17th century,” said Nancy Berliner, Wu Tung Senior Curator of Chinese Art. “It has been in the hands of one family who has cherished it for almost 150 years. We are honored to be the next steward of this great work of art, so that future generations will be able to immerse themselves in Wang Hui’s masterpiece—which incorporates so many great artists and poets who came before him.” 

Wang Hui was the most celebrated of the Four Wangs, a group of Chinese painters that also included Wang Shimin (1592–1680), Wang Jian (1598–1677) and Wang Yuanqi (1642–1715). Wang Shimin had been a disciple of the influential Dong Qichang (1555–1636), who believed that scholar-painters should study from the old masters of landscape painting and express themselves primarily through the subtleties of brushwork. The Four Wangs followed in Dong Qichang’s principles, defining a new style, later known as the “Orthodox School” of Chinese painting, which established an appreciation of paintings for their classical references and abstract values rather than realistic details. 

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

Recognized as a child prodigy, Wang Hui became thoroughly versed in the art and theories of Dong Qichang under the mentorship of Wang Shimin. While studying and copying ancient masterworks, Wang Hui made it his objective to achieve a “Great Synthesis” between the descriptive landscape styles of the Song dynasty and the calligraphic brushwork of the Yuan dynasty. His 10,000 Miles along the Yangzi River complements Summer Mountains after Dong Yuan (Wang Jian, 1642) and Southern Hills After Spring Rain (Wang Yuanqi, late 17th-early 18th century), previously given to the MFA by Weng, enabling the Museum to articulate the depth and meaning of the Orthodox School. 

“I am humbled by Mr. Weng’s generosity and inspired to think about how his gift will transform the future of Chinese art at the MFA,” said Christina Yu Yu, Matsutaro Shoriki Chair, Art of Asia. “We’re excited to invite the public to take advantage of the rare opportunity to see this incredible scroll up close—to appreciate every brushstroke and masterful detail as the narrative carries them upstream along the Yangzi.” 

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

10,000 Miles along the Yangzi River (on view through September 30, 2018 in the Asian Paintings Gallery) 
The scroll is the focus of an immersive installation currently on view at the Museum, presented with soundscapes and interpretive materials that invite visitors to explore the sophisticated brushwork, rich landscape imagery and literary references of the painting, as well as discover its history. Organized in honor of Weng’s 100th birthday, the exhibition also celebrates the publication of the collector’s scholarly book on 10,000 Miles along the Yangzi River and the many journeys the masterpiece itself has taken. 

10,000 Miles along the Yangzi River bears an inscription by Wang Hui that describes the painting’s genesis, and its custom-made wooden box, also on view in the exhibition, features a colophon by Weng Tonghe: 

This Yangzi River painting may have a spirit of its own, 
Acquiring it helps me forget how poor I feel. 
Who would buy a painting instead of a house? 
Please forgive me, friend, if I never let it out of my sight!

Colophons are traditionally written by Chinese collectors to express their appreciation or passion for a work of art. Weng composed his own colophon for 10,000 Miles along the Yangzi River earlier this year. It is on view in the gallery and the MFA invites visitors to write their own, to capture their experience of viewing the special scroll.

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

Wang Hui (Chinese, 1632–1717), Ten Thousand Li up the Yangtze River (detail), 1699. Ink and color on paper. Wan-go H. C. Weng Collection. Courtesy Museum of Fine Arts, Boston.

Lot 129. A bronze 'Figural' mirror, Eastern Han dynasty (25-220 AD). Diameter 5 in., 12.7 cm. Estimate 8,000 — 12,000 USD. Lot sold 10,000 USD. Photo: Sotheby's.

the large knob surrounded by a field of seated figures flanked by other creatures all cast in high relief within a band of plain semi-circles alternating with rectangles enclosing a character, below an inscription and a band of scrolls on the rim, Japanese wood box (3).

Provenance: Old Japanese collection. 

Lot 130. A rare bronze 'Holy mountains and spiritual animals' mirror, Tang dynasty (618-907). Diameter 8 3/8  in., 21.3 cm. Estimate 50,000 — 70,000 USD. Lot sold 125,000 USD. Photo: Sotheby's.

the central knob set in the center of the diagram of four holy mountains and cast as the fifth mountain, surrounded by two 'animals of the four directions', the dragon and turtle, further surrounded by auspicious animals and plants, with the outer register representing the animals of the zodiac, the patina of dark gray color.

Provenance: Old Japanese collection, circa 1980, by repute. 

Lot 133. A bronze 'Sea Beasts ans Grapes' mirror, Tang Dynasty (618-907). Diameter 6 in., 15.2 cm. Estimate 8,000 — 12,000 USD. Lot sold 35,000 USD. Photo: Sotheby's.

the central knob cast as a crouching beast, surrounded by six beasts amidst scrolling grapevines, the outer field with further beasts and birds in flight with further vine scrolls, all below a floral scroll border, the bright silver patina with green encrustation.

Provenance: Collection of James Marshall Plumer (1899-1960).