Durga is an avatar of the Hindu goddess Parvati and is venerated as the warrior goddess who destroyed the demon Mahisha. The figure is well balanced, seated in vajrasana, and placed on a finely decorated lotus throne. The sculpture is in excellent condition and has a natural patina, particularly worn in the areas of her breasts and face. This work of art is incredibly detailed; the jewellery adorning her chest, modelled and incised anklets, armbands, stacked belts, delineated fingernails, and so on. This small yet powerful sculpture is stylistically consistent with 15^th century sculptures from Orissa and demonstrates the artistic and technical skill of artists from this region.

PROVENANCE:
Collection Mr. Vittorio Cacciandra, Montecarlo, Italy

The Gandhara region, covering present day Northern Pakistan and Southern Afghanistan, was an important and influential Buddhist centre producing art strongly influenced by Greco-Roman, Iranian and central Asian traditions. This stone head of Buddha Sakyamuni is one of such examples, showcasing Hellenistic stylistic elements, including the sensitive modeling of the face and nonchalant waving hair resembling flames. This sculpture is iconic for the Gandhara period, which produced the first images of the historic Buddha. Similar examples reside in important collections, including the British Museum. 

PROVENANCE:
Private collection, United Kingdom, before 1970
Collection Mr. Bunzo Nakanishi, Kyoto, Japan, 1970s
Collection Mrs. Shirley Day, New York, USA
Collection Mr. Gilbert Verschooten, Belgium, 2006-2012
Collection Mr. and Mrs. Hans Verloop, Belgium, 2012-2018

Typical for Vijayanagar sculpture is the detailed casting of each element and incised decorative designs. This sculpture, representing Shiva, is elaborately adorned with jewels, stacked belts, and a tall crown (jatamukuta) made of two sets of feathers and an image of Gagna, the goddess of purity. Shiva is seated in lalitasana, the posture of royal ease, and is positioned on a circular lotus throne mounted on a square base. He is holding an axe and a leaping dear, referring to his former manifestation as Rudra the hunter. This relatively large and graceful bronze is a mighty depiction of the Hindu god of destruction and leaves a powerful impression.

PROVENANCE:
Collection Mr. Rinaldi, Fossano, Italy

PUBLISHED:
Marcel Nies, Awakening: The Art of Total Perception, Antwerp, 2017, pp. 42-43.

Orissa bronzes from the 15th and 16th centuries are usually extensively decorated with jewellery and sophisticated floral and geometric designs. The present sculpture demonstrates artistic finesse from all angles. Vishnu is placed on a typical circular lotus throne and displays definite Orissa characteristics, including large almond shaped eyes, a tender smile, and a pronounced nose. This sophisticated rendering of Vishnu depicts the deity in virasana, a position associated with Buddha, underlining the deity’s meditative and intellectual qualities.

Provenance:
Private collection, Belgium
Collection Mr. and Mrs. John Kurtz, Belgium, 2009-2012

This sculpture of a bodhisattva is cast solidly in bronze. The large flamed nimbus surrounding the deity’s head enforces his importance. The column to his left hand side indicates that the figure was likely part of a larger sculptural shrine. Between the 6th and 12th centuries Kashmir was considered an important Hindu and Buddhist centre, producing works of art that had a strong influence on further developments of religious sculpture in India. The almond shaped eyes, jewellery, and type of bronze alloy are all typical for Kashmiri sculptures dating to the 8th – 9th century. The disproportioned yet well defined bodily volumes are comparable to earlier Indian sculptures from the 5th and 6th centuries. 

Provenance:
Collection Mr. Michael Phillips, Los Angeles, USA

Published:
S. Little, Images of Buddha from the Michael Phillips Collection in Arts of Asia, Jan-Febr. 2013, p.111, fig. 12.C. 

Christophe Hioco, Catalogue La Biennale des Antiquaires, Paris, 2017, pp.32-33.

A Yali is a mythical creature often depicted in Indian art and architecture. It is a particularly popular design to decorate pillars in South-Indian temples. The animal can appear in different forms – it may be part lion, part elephant, or part horse. They generally have bulging eyes, a lion like body, and a long snout. The present bronzes are expressive renderings of the mythical animals and capture their rampant natural forces. The two Yalis are beautifully decorated with fine necklaces. They presumably once supported a larger ritual object. 

Provenance:
Private collection, Italy

Ganesha, the elephant headed Hindu deity and embodiment of wisdom, is depicted dancing holding three attributes in his four hands: an axe, a fruit, and a bowl for offerings. This sculpture has a smoothly worked surface and a dynamic composition, evoking an energetic and graceful effect. Ganesha’s vehicle, the rat, is depicted to his right hand side and a musician playing the flute to his left. The reddish sandstone figure is stylistically influenced by medieval sculpture made during the Pratiharan Empire. The arched eyebrows, the naturalistic physical volumes, and powerful movement underline the mastery of North-Indian artists from this important medieval time.

Provenance:
Collection Mr. Johnny Eskenazi, Italy/England, before 1999
Collection Mr. Nico Vrielink, the Netherlands, 1999-2010

Published:
Marcel Nies, Nirvana: Sculpture from India, Himalayas and Southeast Asia, Antwerp, 2010, pp. 22-23.
Marcel Nies, Piece of Mind, Antwerp, 2000, pp. 8-9.

This serene head of Buddha is softly sculpted and shows a beautiful natural patina. Due to Khmer supremacy, the Bayon and Angkor schools strongly influenced Lopburi art. Lopburi sculptures, including the present, do show distinct features such as very large spiral curls, an elliptical form of the face, prominent upper eyelids and delicately outlined eyebrows. It is likely that a multi headed snake (mukhalinda) formerly hooded this Buddha, as such iconography was popular during the 13th century in Lopburi.

Provenance:
Collection H. M. Luther Antiques Ltd. London, before November 1978
Private collection, England, November 1978-2018

This sculpture depicts Buddha Sakyamuni meditating and wrapped by Mukhalinda, a mythical snake who protects Buddha. This iconography, going back to the first centuries CE, is rare as Buddha usually sits on top of the curled up body of the snake instead of being wrapped by it. Similar examples are found in situ in Northern regions of Thailand, where also this Buddha originates from. The sculpture shows fine details, including a snakeskin pattern on the body of the seven-headed animal, and well-defined facial features with a serene expression and gentle smile.

Provenance:
Private collection, The Netherlands

 This well-preserved sculpture is a pure representation of the historical Buddha and a true example of the 15th century Ayudhia School. The beautifully textured red sandstone and stylized clean-cut facial features are characteristic for sculptures produced in South-central Thailand. A similar example can be found in the Chantrarakasem Museum in Ayudhia (item ID #223CMN/2519/224). Both showcase a wide forehead, clearly delineated headband, tight small curls and similarly defined half-open eyes, nose and mouth.

Provenance:
Collection Mr. Claude Demarteau, Belgium
Collection Mr. Walter Fabiani, Italy

Traditionally, bells were used during religious and cremation ceremonies, to perform the hymn in honour of the deceased. It is also thought that they were used for announcements and for scaring demons and enemies by striking the hollow cup with a beater. This bell is decorated with geometrical designs and has an elliptical shape typical of the Dong Son style. Metal played an important role in local Cambodian cultures and excavations of patterned bells in the Pursat province near the Battambang region indicate the existence of a highly developed bronze casting tradition in the Dong Son culture. This bell is in excellent condition; the spiral motifs are clearly visible excepted by a few naturally worn areas. The expressive volume and natural patina demonstrate the aesthetic value of this early bronze work.

Provenance:

Private Collection, The Netherlands

The Bayon School is considered a superior style period of Khmer culture. The present bronze of Lokeshvara has a beautiful slate grey-greenish patina. The sculpture is cast with fine details including jewellery, a tall crown (which used to bear a gem of some sort), incised knees and nipples, and sophisticated geometric floral designs on his garment. This upstanding figure has a strong pose contrasting with the many details. Lokeshvara’s finely modelled face is characteristic for Bayon, showing a tender smile, pronounced nose and wide closed eyes.

Provenance:
Collection Mrs. Joke van Welij, the Netherlands

This bronze of the Hindu god of preservation, Vishnu, is characterised by a dynamic pose and noticeable artistic virtuosity. The deity’s rare posture is likely inspired by the large depiction of Vishnu stepping towards the sun in the central part of the Prasat Kravan temple, a 10^th century Bakeng temple in Cambodia. This sculpture is a classic example of the elegant Khmer Baphuon style, demonstrating refined garments, headdress and jewellery. In addition, the sculpture shows typical Baphuon facial physiognomy: wide open eyes, prominently outlined eyebrows and full lips. In comparison to other Baphuon bronzes of this scale, the present is a lively and more elaborate example.

Provenance:
Private Collection, France

This small yet incredibly fine bronze of Vajrasattva was made during the glorious Angkor Vat period – a highlight of the Khmer empire. In Mahayana Buddhism Vajrasattva was venerated as the Adi-Buddha, the primordial Buddha of innate wisdom. This sculpture is in good original condition leaving a naturally worn jade-green coloured patina. The nimbus is cast separately from the figure, which is a common technique for Angkor bronzes. This statue was included in the exhibition of “Entdeckungen: Skulpturen der Khmer und Thai” in the Museum fur Ostasiatische Kunst, Koln, April – July 1989.

Provenance:
Collection Mr. Wolfgang Felten, Germany

Published:
Felten & M. Lerner, Entdeckungen, Skulpturen der Khmer und Thai, Cologne, 1989, p.100-101.

Banteay Srei is a 10th century temple situated in Siem Reap, Cambodia and exhibits some of the most outstanding carvings in the Angkor region made from a reddish sandstone. This sculpture of a lion is impressive and in good condition. It is sculpted from red sandstone and shows an artistic sophistication similar to the Banteay Srei temple and its surroundings. The present lion was originally positioned at an entrance, stairway, or terrace of a temple or sanctuary, acting as a guardian lion protecting the building from evil spirits.

Provenance:
Collection Mr. Stefan Grusenmeyer, Belgium

Lokeshvara is the Mahayana deity of compassion. The naturally worn upper torso is decorated with numerous figures of Buddha and a larger seated Buddha in the middle of Lokeshvara’s chest, representing the “thousand Buddhas” concept. This Khmer iconography is a visual symbol of an important Mahayana ritual involving chanting the names of Buddhas of the past, present and future. This fragmentary sculpture shows mature Bayon physiognomy: full volumes and well-balanced proportions. The type of grey sandstone used to carve this sculpture corresponds with the material of Khmer statues found in the region of Bayon. This rare and attractive sculpture with interesting provenance shows high technical skill and is a classic Khmer work of art.

Provenance:
Collection William Clayton Ltd. gallery, London, 1966
Collection, Dr. G. Macken, Belgium, 1970s – 1984
Collection Jean Nies and Barbara La Rocco, the Netherlands, 1984 – 2018

Published:
Oriental Art Magazine Ltd., A quarterly publication devoted to all forms of Oriental Art, New Series, Surrey, 1966.

Myanmar, Arakan, 13th-14th century
Bronze, traces of lacquer and gilding; height: 29cm.

Maitreya, the future Buddha, sits in an upright position on a little bench with his hands in the abhayamudra and varadamudra gestures – this position is also referred to as the “European style”. His tall elaborately decorated crown and large earrings stand out, showing remains of gilding and lacquer. This type of crown became popular in medieval Arakan, and is influenced by Indian Pala sculptures from the 8th-12th century. The slightly disproportioned body and large head evoke a primordial energy supporting its early dating.

Provenance:
Collection Jean Nies and Barbara La Rocco, The Netherlands

Vajrabhairava is a Buddhist deity celebrated as Dharmapala, the protector and destroyer of death. He is recognised by his 9 heads and 34 arms holding weapons and 16 legs trampling birds, dogs and other gods. He is depicted with his consort, Vajravetali, in a sexual embrace to evoke the concept of dualistic totality – most valued in Buddhist religion. Tsong Khapa is seated in the upper part of the painting surrounded by 21 other lamas, Siddha and Arhats. The green and white taras, goddesses of liberation, are depicted on the left and right hand sides of the painting. The lower register includes 7 additional Dharmapalas, who like Vajrabhairava, are defenders of the Buddhist law. The expressive figures, vibrant colours, and excellent condition add to the importance and rarity of this temple painting.

Provenance:
Collection Mr. Wim Isphording, the Netherlands

This fragmentary relief depicts four of the seven saptamatrikas, mother goddesses in Hindu religion. Shiva playing a flute is depicted on their left hand side. This iconography became a popular decorative motive in Saiva temples, often seen on lintels placed above entrances and doorways. The goddesses are adorned with elaborate jewellery and sheltered by refined lotus halos. The Hoysala dynasty (circa 1000 – 1346 AD) is well known for their unique and sophisticated architectural and artistic style, revealing much dynamicity and deeply cut carvings, creating visual depth – which is noted in the present sculpture. In addition, this sculpture was exhibited at the Art Institute of Chicago in the 1990s and included in the exhibition organised by the MAS Museum, Antwerp: India ontmoet het MAS, 04/10/2013 – 12/01/2014.

Provenance:
Private Collection, United Kingdom