1
e timeless art work of Michelle Samerjan
Jewels Original works of art by Michelle Samerjan featuring mixed media and Far Eastern antiquities
www.samerjan.com TABLE OF CONTENTS 2
Page 1: Cover Page 9: ZHONG KUI Page 17: LION OF SHAKYA
Page 2: Table of Contents Page 10: SNOWFLAKES Page 18: THE PRAYER CYCLE
Page 3: Biography of Michelle Samerjan Page 11: MA TSU P‘O Page 19: TAI PING TUNG BAO
Page 4: Antiquities Page 12: BROKEN BIRD Page 20: INDEX - pages 6 - 9
Page 5: Selected Exhibitions/Contact Info Page 13: SHEN-DAO Page 21: INDEX - pages 10 - 13
Page 6: TRIBAL FUSION Page 14: BÉBÉ SOUFFLE Page 22: INDEX - pages 14 - 17
Page 7: LEON Page 15: BIRDS OF PASSAGE Page 23: INDEX - pages 18 - 19
Page 8: NIRVANA OF THE NEW MILLENNIA Page 16: JIAN MAO 3 Michelle’s journey to this artistic fusion of east and west began in of all places Indianapolis, IN. Her mother, an artist herself, felt whether Michelle ever became an artist, she should understand what it was her mother did and explore the magic of creating. And so began an interesting childhood where the passion and love of art was taught in the same breath as reading and writing. Her father who was in the textile business took her, as a young child, on travels far and wide. Not only did she begin to develop a palette for the nuances of texture and color in fabrics, but many of the mills were set against backdrops of exciting locales A selected list of individual and corporate collectors and international cultures. Arden Realty REIT Fund After a successful career in the textile business, she moved into designing three Arthur Andersen, Chicago dimensional spaces and environments for selected companies. Blending the form Billy Blanks Tae Bo Master with function. Borobodor Hotels, Indonesia With only her training as a youth, she began to experiment with a style of painting Columbia Pictures, Hollywood and collage. What she soon found was a ready gallery market for her unique vision e Completion Bond Co., Los Angeles Michael Colina that hinted at overtones of zen, feng shui and mysticism from the Far East. Award Winning Composer Her painting, and use of antique embroidered Chinese fabrics, rare coins and Johnny Damon Professional Baseball Player talismans, and spiritual mantras such as collectable Buddhist manuscript pages became JW Marriott, Las Vegas, NV the “colors” to a 3 dimensional palette this creative artist works with. Harley Davidson, Maryland Hyatt Regency Hotels, Florida Her work is not where east meets west. It is where east and west become one. Kopelson Entertainment, Hollywood The antiquities, scriptures and mysticism of the Far East blend seamlessly with Dr. Phil McGraw TV Personality the painting and vision of this internationally collected artist to create imagery Intercontinental Hotels, Asia that soothes the senses, works in any environment and can be the portal to the Mark O’Meara Professional Golfer journey of an awakened soul. Microsoft Corp., Washington Her unique and diverse subject matter has led to a notable and vast group of Polygram Records, Hollywood collectors who many times have become multiple collectors of these unique works. Lela Rochon Actress Michelle Samerjan. History being made…again. Kevin Rudd Prime Minister of Australia Sony Pictures, Hollywood Siemens Gmbh., Germany Sunrise Hospital, Las Vegas, NV e Sultan of Brunai 4 A question constantly asked about Michelle Samerjan’s artwork is, “Where do all the antiquities come from?”
Michelle has been collecting these valuable treasures for years and today, she has cultivated a network of over fifty antique dealers in Tibet, China and Japan that offer antique coins, charms, vestments, tribal tapestries and other collectables. They are all aware that many of the pieces are divided into segments and used in different pieces of art. For both dealer and artist they are part of the continuing journey of extraordinary pieces that represent extraordinary cultures, people and places. Just as we collect heirloom seeds and plant to create a new crop, these antiquities are given a new life and context to continue their story. Thank you for being part of this new journey. 5
e timeless art work of Michelle Samerjan
A selected listing of Gallery Exhibitions and Shows One Artist Listings Only.
February 15, 2000 Lahaina Gallery San Francisco, CA March 24, 2000 Addi Galleries Lahaina, HI May 10, 2000 Palm Desert Fine Art Palm Desert CA August 19, 2000 New Masters Gallery Carmel, CA For information on original works of art or Imperial Editions by Michelle Samerjan, November 10, 2001 Galleria di Sorrento Las Vegas, NV or for exhibiting Michelle Samerjan artwork please contact the Studio at: February 20, 2002 Thomas Anthony Gallery Park City, UT March 30, 2002 The Contessa Gallery Cleveland, OH Samerjan Fine Arts Studio May 20, 2002 Dolphin Galleries Lahaina, HI 506 River Estates Pkwy August 15, 2002 Louis Aronow Gallery Sausalito, CA Canton, GA 30114 November 5, 2002 Dolphin Galleries Lahaina, HI tel: 678.906.5095 January 15, 2003 P & C Fine Art, Inc. McLean, VA e-mail: [email protected] December 29, 2004 Thomas Anthony Gallery Park City, UT www.samerjan.com March 21, 2005 Galleria di Sorrento Las Vegas, NV May 15, 2005 Miranda Galleries Laguna Beach, CA
June 21, 2006 Dolphin Galleries Lahaina & Wailea, HI
November 15, 2008 P & C Fine Art, Inc. McLean, VA December 15, 2008 Thomas Anthony Gallery Park City, UT 6 TRIBAL FUSION
Featured Antiquities: An early 1800s Chinese carving from a yak bone of an ancient Chinese sentry, resting on embroidery from an early 1800s Mongolian wedding screen.
Dimensions: 30”W x 40.5”H (unframed) Original work of art: mixed media & antiquities on wooden panel 7 LEON (Meaning “lion” in Greek)
Featured Antiquities: An 18th century brass “Fu lion” on an 18th century Tibetan Sanskrit prayer page, with acrylic paint and antique Indian sari cloth on left, and on right, resting on late 1800’s Indian embroidery with actual beetle wings weaved into embroidery, over antique Chinese silk brocade .
Dimensions: 59”W x 32”H (unframed) Original work of art: mixed media & antiquities on wooden panel 8 NIRVANA OF THE NEW MILLENNIA
Featured Antiquities: 10th century Chinese bronze mirror with 18th century scroll tie over a page of 17th century poetry from the Japanese Imperial court, on a fragment of a 17th century Japanese priest’s robe .
Dimensions: 34.5”W x 44.5”H (unframed) Original work of art: mixed media & antiquities on fine art paper 9 ZHONG KUI (A legendary deity and protector from evil spirits in China and pronounced, “SONG KWEE”)
Featured Antiquities: A mid-1800s Chinese wood carving of a scholar (perhaps Zhong Kui) and adorned at top and bottom with 2 late 1800s Chinese wood carved bats washed in cinnabar and gold .
Dimensions: 30”W x 50.25”H (unframed) Original work of art: mixed media & antiquities on wooden panels 10 SNOWFLAKES
Featured Antiquities: A mid-1800s Tibetan Buddhist lama’s silk incense pouch, with carved cinnabar stone and tassels, with vintage square Japanese tea can lid above with suspended late 1800s Tibetan silver repousse of butterfly with bells.
Dimensions: 36”W x 18”H (unframed) Original work of art: mixed media & antiquities on wooden panel 11 MA TSU P‘O (Meaning “seafarer’s goddess” in Chinese)
Featured Antiquities: A Koryo Dynasty (11th – 12th century) Korean bronze mirror, with dangling apricot seed and 18th century Chinese tassel plus fragments from the vestments of a 13th century Japanese warrior puppet .
Dimensions: 29.75”W x 41.5”H (unframed) Original work of art: mixed media & antiquities on fine art paper 12 BROKEN BIRD
Featured Antiquities: A Japanese brass inscribed door pull from the Hikite temple circa 1870, with a fabric pillow inset of 18th century Chinese “thunder and cloud” embroidery, resting on a 17th century Sanskrit page from a Nepal/Tibetan monk’s personal prayer book.
Dimensions: 30”W x 40”H (unframed) Original work of art: mixed media & antiquities on wooden panel 13 SHEN-DAO (Meaning “the way of the spirits” in Chinese)
Featured Antiquities: An 18th century Chinese purse with silver and copper sun embroidery, flanked at top and bottom with two 17th century Chinese charms for good fortune.
Dimensions: 36”W x 28”H (unframed) Original work of art: mixed media & antiquities on fine art paper 14 BÉBÉ SOUFFLE (Meaning, “baby’s breath” in French and pronounced, “bay-bay sue-flay”)
Featured Antiquities: A mid-1800s Japanese gold leaf and resin hat from a samurai puppet, with late 1800s embroidered tent ornament tassels from a tribal chieftain that was used in ceremonies in Uzbekistan, resting on a mid-1800s embroidered Chinese infant’s receiving blanket.
Dimensions: 34.25”W x 47”H (unframed) Original work of art: mixed media & antiquities on fine art paper 15 BIRDS OF PASSAGE (Meaning, “baby’s breath” in French and pronounced, “bay-bay sue-flay”)
Featured Antiquities: An 18th century Tibetan monk’s belt of charms atop and 18th century Chinese embroidery, flanked top and bottom with embroidered sleeves from the 1890s and worn by the hand maiden to the Empress Dowager.
Dimensions: 26.25”W x 41.25”H (unframed) Original work of art: mixed media & antiquities on fine art paper 16 JIAN MAO (Meaning, “child's cap” in Chinese and pronounced, “jee-ann ma-ow”)
Featured Antiquities: A mid-1800s Chinese child’s cap, accented with a “tiara-shaped” section of a late 1800s Tibetan silver inlaid hat and late 1800s Chinese embroidery and tassels from a woman’s “fish shawl”, with 2 sections of a mid-1800s Buddhist Kai Guan coronal hat worn by a lama .
Dimensions: 24”W x 30”H (unframed) Original work of art: mixed media & antiquities on wooden panel 17 LION OF SHAKYA (Meaning, “lion of Buddha” and pronounced, “shock-yah”)
Featured Antiquities: A late 18th century elegant bronze Chinese fu lion door knocker (used by noble families to guard against evil spirits), atop late 1800s Tibetan thangka cloth of Shakyamuni Buddha in gold and mineral pigments, with late 1800s Chinese embroidered copper coin fragment purse, at top and at bottom with tassels, atop two silk and gold embroidered triangles from a late 1800s West Sumatra Minang Kabau “Sirih” table decoration, resting on a late 1800s Chinese linen scroll of cranes veiled over in hand-made Japanese rice lace .
Dimensions: 21”W x 41.5”H (unframed) Original work of art: mixed media & antiquities on wooden panels 18 THE PRAYER CYCLE
Featured Antiquities: A late 1700s European hand-carved wooden angel, with late 1800s Chinese Miao minority embroidery at top and bottom, on a mid-1800s infant’s receiving blanket.
Dimensions: 60”W x 39.5”H (unframed) Original work of art: mixed media & antiquities on museum board 19 TAI PING TUNG BAO (Meaning “forever uneventful” in Chinese)
Featured Antiquities: A 17th century Tao charm with Tao symbols on front and the Chinese characters for “forever uneventful” on back, with 18th century Pagoda charm at top with Sun and Moon depicted, accented with a contemporary tassel, all resting on late 1800s Indian ceremonial cloth, with Indian sari cloth and 18th century Japanese screen paper veiled in black Indian netting .
Dimensions: 35”W x 46”H (unframed) Original work of art: mixed media & antiquities on museum board INDEX 20
Page 6 - TRIBAL FUSION Page 8 - NIRVANA OF THE NEW MILLENNIA
Story Story Rarely in our planet’s history has one road connected so many cultures and not only Nirvana…where there is fullness of life, no pain, no sorrow, no need to be born moved physical materials East to West and West to East, but represented a spiritual again, no nirvana even. Sevenfold row of trees… seven precious ponds…soft river that washed over nations, peoples, tribes and families. It not only opened China midnight…fresh and rich… lotus flowers floating…bamboo whispers…fish and its treasures to the West, and knowledge from the West to the cloistered Empire dancing… dazzling colours…fragrant aroma…enchanting music… pavilions of of China, but along its vast meandering path, everyone felt the effects of the travelers rich color flame…breath of the wind…light of the moon… nirvana of the new who passed their way. And today when looking at antiquities and artifacts from any millennia. tribe or society touched by the Silk Road, one can only marvel at the fusion of all these inputs and how the mystical spirits infuse every tribe, friend or foe, and when Notes on Media and Antiquities Used in Original viewed from a distance truly become a common thread. 10th century Chinese bronze mirror with 18th century scroll tie over a page of 17th century poetry from the Japanese Imperial court, on a fragment of a 17th century Notes on Media and Antiquities Used in Original Japanese priest’s robe, bordered by pages from a 16th century Pali Sanskrit prayer An early 1800s Chinese carving from a yak bone of an ancient Chinese sentry, resting book, on an antique Indian Sari and Indonesian Selendeng cloth over 18th century on embroidery from an early 1800s Mongolian wedding screen, with pieces from a Chinese linen wallcovering, next to an 18th century Thai cinnabar temple drawing all late 1800s Tibetan silver inlaid Child’s hat at top and bottom center, all resting on a mounted onto a 17th century Indian painted Thangka cloth. Dimensions: 34.5”W x 44.5”H (unframed) Dimensions: 30”W x 40.5”H (unframed) mid-1800s Lakai child’s embroidery tunic from Uzbekistan, resting on painted bamboo paper, veiled over with antique Chinese netting, with peek-a-boo reveals to mid-1800s embroidery from 3 different Tekke choppy belts from Turkmenistan, and embroidery from an early 1800s Mongolian wedding screen, with thirteen 12th century Chinese cash coins, affixed with religious melted wax collected from holy temples and monasteries, plus 15 late 1800s Korean copper dragon coins, bordered and resting on early 1800s pages from a Mongolian Buddhist manuscript, with 4 wooden insets wrapped with pages from an early 1800s Mongolian “Esen Erdeniin” black Buddhist manuscript written in gold, adorned at each corner with an antiqued metal leaf, all on a museum wooden panel covered with sculpted Yixing plaster, formed using 17th – 18th century Asian fabric stamps and chops, then painted and rubbed in gold and bronze paint.
Page 9 - ZHONG KUI
Story Chinese Emperor Ming Huang (713-754) was plagued by small demons stealing his royal belongings and causing mischief at his Court. But one night, during a vivid Page 7 - LEON dream the Emperor saw a big demon catch the small demons and destroy them. This “good” demon identified himself as the departed Zhong Kui, who from then on, Story would serve his Emperor, even after death and protect him from demons and ghosts. The lion is a symbol of valor and energy. The defender of law and protector of sacred The Emperor described this “good” demon from his dream to his court painter, buildings. In the last millennia of Chinese history, beautiful sculptured lions were Wu Daozi, and soon the likeness of Zhong Kui was not only in all royal palaces, but frequently placed at the gates of temples, the porticos of houses and the entrances paintings were in everyone’s home to ward off evil spirits. Zhong Kui is often shown to sacred tombs. Here, a gallant lion rests on the wings of beetles whose colors with his magic sword and bat flying overhead. It was believed his sword would bring Dimensions: 59”W x 32”H (unframed) mirror the life cycles of change. He is prepared to take flight on these magical wings down the bat, and bring “good fortune” upon the house he guarded. wherever he is needed. In these uncertain times, it is comforting to know that “Leon” is ready to defend and protect at a moment’s notice. Notes on Media and Antiquities Used in Original A mid-1800s Chinese wood carving of a scholar (perhaps Zhong Kui) under the Notes on Media and Antiquities Used in Original clouds, accented with contemporary Chinese tassel, resting on a mid-1800s Burmese An 18th century brass “Fu lion” on an 18th century Tibetan Sanskrit prayer page, with Kammavaca prayer book page, with late 1800s embroidery from a Sindhi blouse front acrylic paint and antique Indian sari cloth on left, and on right, resting on late 1800s at top and bottom, resting on acrylic painted hydrangeas on hand-made French Indian embroidery with actual beetle wings weaved into embroidery, over antique watercolor paper, veiled over with hand-made Japanese rice lace, bathed in a mixture Chinese silk brocade, surrounded with late 1800s Indian sari cloth wrapped in of archival beeswax and UV-resistant polymers, with 2 vertical insets of late 1800s Dimensions: 30”W x 50.25”H (unframed) antique Chinese fishnet stockings with 2 paper mâche torches wrapped in 17th Kammavaca prayer book pages, all on Artist-designed Asian motif wooden panels, century poetry and music written for the Japanese Imperial Court, accented with gold the bottom painted and the top panel gold-leafed and washed with paint, and and acrylic painted metal leaves, all on wooden museum panel wrapped in 1800s adorned at top and bottom with 2 late 1800s Chinese wood carved bats washed in Japanese calligraphy ledger and screen paper enhanced with acrylic and gold paint. cinnabar and gold. INDEX - continued 21
Page 10 - SNOWFLAKES Page 12 - BROKEN BIRD
Story Story In the late Spring of each year, the nomadic tribes of the Himalayas converge into the Throughout Chinese history, examinations were designed to prepare a young man valley below. They celebrate their survival of the harsh conditions of Winter. As they and reveal his talents as an official serving the emperor. The meritorious result was a arrive on the level plains, brightly colored tents begin to spring up creating coveted badge of honor. But few failed to reach the upper echelons beyond the fifth mini-villages. Against the purple sunset, mystic whirls of dust kick-up from the rank symbolized by the silver phoenix. A modern day glass ceiling for those not from hooves of yaks and horses racing for sport and amusement, while solemn monks in mighty families or royal blood. This wedge drawn between the classes meant thou - Dimensions: 36”W x 18”H (unframed) saffron robes bless the festivities. Tribal costumes with engraved silver pendants swirl sands of truly gifted officials never reached their potential. But within a spiritual and dance like the long forgotten Winter snowflakes. Old friends, new faces, new world, one’s path cannot be limited to earthly restraints or conventions. No matter babies, each unique but all bound with one common purpose, to begin anew after the obstacle, one’s potential is only limited by one’s self. the Winter. To re-affirm their survival and celebrate the simple joy of friends and humanity as a whole. Notes on Media and Antiquities Used in Original A Japanese brass inscribed door pull from the Hikite temple circa 1870, with a fabric Notes on Media and Antiquities Used in Original pillow inset of 18th century Chinese “thunder and cloud” embroidery, resting on a A mid-1800s Tibetan Buddhist lama’s silk incense pouch, with carved cinnabar stone 17th century Sanskrit page from a Nepal/Tibetan monk’s personal prayer book, over and tassels, with vintage square Japanese tea can lid above with suspended late contemporary Indian sari fabric and net wrapped late 1800s Indian’s tailor cloth, 1800s Tibetan silver repousse of butterfly with bells, resting on late 1700s Japanese Dimensions: 30”W x 40”H (unframed) accented with a tassel from a mid-1800s Lakai tent ornament from Uzbekistan, manuscript, with mid-1800s Chodor tribal cuffs from an Uzbekistan chieftain with resting on early 1800s Japanese golden screen paper, on a mid-1800s 5th rank silver mid-1800s silver beads from a Tibetan child’s cap (at top and bottom), flanked with pheasant badge from China in K‘o Suu embroidery, all on silver leafed and acrylic two mid-1800’s Tibetan Kai Guan coronal petals from a lama’s ritual crown, accented painted museum quality wooden panel, bordered with insets of wood wrapped with with suspended late 1800s Tibetan silver repousse work from an inlaid silver hat with early 1800s Japanese golden screen paper, adorned at each corner with 4 antiqued auspicious signs, flanked with late 1800s Chinese camphor wood carvings from a metal leaves, all surrounded with molded and sculpted Yixing plaster, formed using wedding basket, all resting on wooden panel wrapped in mid- to late 1800s Chinese 17th and 18th century Asian fabric stamps and chops, painted and rubbed in copper, and Japanese linen wall covering, and silk screens depicting horses, with acrylic and bronze and silver paint. metallic painted “Chinese” snowflakes.
Page 11 -MA TSU P‘O Page 13 - SHEN-DAO
Story Story In ancient Chinese mythology, there once was a legendary goddess of the sea. It was In the Far East, life and death are seen as two parts of an endless journey. And the said, she chanted long prayers calling down blessings on all who braved the high spirit world is as diverse and complex as the real world. Here, two shen (or spirits) seas. Legend had it that she had “thousand miles eyes” that scanned the vast horizons who had once lived on the earth as mortal women dance about the sun, casting of the China seas looking for seafarers in peril. A safe journey was attributed to this benevolent spells upon all who possess this mystical Chinese purse once belonging gentle goddess and her powers. Here, two Chinese boats begin a lengthy voyage to two courtesans from the Imperial City. Surrounded by symbols of wealth and under the watchful gaze of a wise old fisherman. He will wait until their return, but prosperity, they rejoice in bringing good fortune to all who possess their last treasure for those who believe in a force greater than our earthly dimension, a safe journey from an Imperial life of regal splendor and hidden dreams. The world beyond in the comes at the pleasure of “MA TSU P‘O.” Perhaps your journeys too will benefit from Dimensions: 36”W x 28”H (unframed) East is truly much more elastic than the culture of the West. Perhaps you have just this generous goddess. found your entrance to Shen-dao.
Notes on Media and Antiquities Used in Original Notes on Media and Antiquities Used in Original A Koryo Dynasty (11th – 12th century) Korean bronze mirror, with dangling apricot An 18th century Chinese purse with silver and copper sun embroidery, flanked at top seed and 18th century Chinese tassel, resting on a 17th century Japanese book and bottom with two 17th century Chinese charms for good fortune affixed with cover from the Imperial Court, with fragments from the vestments of a 13th century melted religious wax collected from temples and monasteries, resting on an 18th Japanese warrior puppet, over late 1800s Chinese paper wall covering, with 18th century Chinese wood carving from an opium bed, with fabric wrapped wood at top Dimensions: 29.75”W x 41.5”H (unframed) century Chinese “thunder” pattern embroidery (Prussian blue) with contemporary and bottom, on a mid-1800s Chinese tobacco pouch, on acrylic and gold painted “taupe” Indian embroidery silk at top and bottom, resting on fine watercolor paper, bamboo paper, with reveals to 18th and 19th century Chinese and Indian fabrics, all infused with Parisian plaster, gold-leafed and bathed in acid, then over-painted bordered with 18th century Japanese screen paper, wrapped on watercolor paper, with acrylic. over painted with a multi-colored pattern. INDEX - continued 22
Page 14 - BÉBÉ SOUFFLE Page 16 - JIAN MAO
Story Story There is nothing as wondrous as bringing a new life into the world. That sweet, soft, In a society structured in layers, one needs a scorecard to tell the status of the players. first gulp of air, breath like innocent perfume. What enormous care and responsibility So it was during the Qing Dynasty (1644 A.D. - 1911 A.D.) in China. Every male wore a to teach this gentle soul a love for living, that it is good to be alive, good to be a little hat to signify their rank and station. The color of the hat, the type of feather used for boy, and good to be on this Earth. Years later, I still lay my head next to that precious accent, the gemstones used for decoration told all passerby's everything they needed sleeping face and quietly listen to his gentle breathing as if he were just born, and to know about the wearer. This even extended to children who wore hats to reflect smell his beautiful baby’s breath and know I have done good. the status of their family. And when this great dynasty ended with the abdication of the child emperor in 1911, it was a simple child’s hat that defined the end and a new Notes on Media and Antiquities Used in Original beginning that a century later is still being defined. A mid-1800s Japanese gold leaf and resin hat from a samurai puppet, with late 1800s embroidered tent ornament tassels from a tribal chieftain that was used in Notes on Media and Antiquities Used in Original ceremonies in Uzbekistan, resting on a mid-1800s embroidered Chinese infant’s A mid-1800s Chinese child’s cap, accented with a “tiara-shaped” section of a late receiving blanket, all atop a weaving of contemporary hand-made paper, painted 1800s Tibetan silver inlaid hat and late 1800s Chinese embroidery and tassels from a using a 16th century Pali prayer book cover, and gold-leafed and painted strips of woman’s “fish shawl”, with 2 sections of a mid-1800s Buddhist Kai Guan coronal hat French watercolor paper, resting on acrylic and metallic painted watercolor paper, worn by a lama, with 2 sections of an early 1800s Chinese wooden wedding basket at with insets of 17th century Japanese calligraphy from the back side of a gilded Dimensions: 24”W x 30”H (unframed) top and bottom, resting on 5 canvas panels from two mid-1800s Buddhist paintings, Dimensions: 34.25”W x 47”H (unframed) screen, all veiled in contemporary lilac and blue organza. drawn with raised gold and hand-made mineral pigments, encrusted throughout with late 1800s silver “repousse” work from Tibetan hats (featuring Buddhist and auspicious symbols), all mounted onto wooden museum panel, covered with Yixing plaster, sculpted using 17th - 18th century Chinese chops and fabric stamps, then painted and gilded.
Page 17 - LION OF SHAKYA
Story The beautiful snow lion is one of the most powerful symbols of Buddhism, as he is the symbol of Shakyamuni Buddha. Buddha’s teachings are referred to as the “lion’s roar” because of their power and majesty. Snow lions were rumored to have roamed Page 15 - BIRDS OF PASSAGE the snowy mountains of Tibet. Like Buddhism, itself, which leaped over the Hi - malayas from India, the snow lion is a magical animal that is auspiciously sighted Story making graceful leaps from one mountaintop to another. And today, the country of To liberate a captured bird is regarded by the Buddhists as a good deed that will not Tibet is referred to by many as the “Snow Lion.” Even when domineered by China, its be unrewarded in the next world. Here our birds come from a century of innocence, spiritual power is such, that China truly has a mystical tiger, or lion by the tail. and who is to say what shape of form they may have been in a previous life. Perhaps a Roar!!!!! man who sought to consummate his love of a virtuous hand maiden to the Empress Dowager. But a man whose intentions were distorted in the mirror of court etiquette. Notes on Media and Antiquities Used in Original Reborn as a bird who must passage through from this world to the next in the hope of A late 18th century elegant bronze Chinese fu lion door knocker (used by noble attaining human form and finding the only love he has ever known. families to guard against evil spirits), atop late 1800s Tibetan thangka cloth of Shakyamuni Buddha in gold and mineral pigments, with late 1800s Chinese Notes on Media and Antiquities Used in Original embroidered copper coin fragment purse, at top and at bottom with tassels, atop two An 18th century Tibetan monk’s belt of charms atop and 18th century Chinese silk and gold embroidered triangles from a late 1800s West Sumatra Minang Kabau embroidery, flanked top and bottom with embroidered sleeves from the 1890s and “Sirih” table decoration, resting on a late 1800s Chinese linen scroll of cranes veiled worn by the hand maiden to the Empress Dowager, resting on acrylic paints on fine over in hand-made Japanese rice lace, bathed in archival beeswax and UV-resistant watercolor paper and early 1900s Chinese linen wallcovering veiled with early 1900s polymers, with 4 wood wrapped insets of contemporary saffron hand-loomed silk Tibetan prayer scarves. dragon cloth from the famous mills of Varanasi, India, all on artist designed Asian motif wooden museum panel with top panel covered with molded and sculpted Dimensions: 21”W x 41.5”H (unframed) Yixing plaster, formed using 17th – 18th century Asian fabric stamps and chops, Dimensions: 26.25”W x 41.25”H (unframed) gold leafed and painted, with bottom panel gold-leafed. INDEX - continued 23
Page 18 -THE PRAYER CYCLE Page 19 - TAI PING TUNG BAO
Story Story It took nine years for it all to crystallize for me. A tragic loss in my life became an If one were to walk the planet, from border to border, under Sun and Moons, the excruciating pain I thought would never cease, creating the burning need for occurrence of and homage paid to similar icons and principles becomes almost expression and spiritual guidance and a time for prayer. But through this enormous common, and one would say, uneventful. Take the lion. In Buddhism, he is represented process it opened a beautiful door in which the creativity to express myself and give as offering flowers to Buddha. The Aegean’s in another part of the world depict him to others became a portal through which others who crave answers could take the as a warrior, proud and valiant. In both cases, he is considered sacred. Whether he is first step to their own understanding. Years later, the birth of a child completed my offering flowers or leading armies, it is the “unevents” of the underlying commonalties Dimensions: 60”W x 39.5”H (unframed) prayer cycle of what was not meant to exist into that of a lasting legacy of a son and that transcends us from “events” to more calm and peaceful coexistence. an art form that will live on beyond me and span the ages. Notes on Media and Antiquities Used in Original Notes on Media and Antiquities Used in Original A 17th century Tao charm with Tao symbols on front and the Chinese characters for A late 1700s European hand-carved wooden angel, resting on a pillow of “forever uneventful” on back, affixed with melted wax collected from temples and contemporary hand-loomed silk brocade from the mills of Varinasi, India, inside an monasteries, with 18th century Pagoda charm at top with Sun and Moon depicted, early 1800s Japanese door pull from the Temple Hikite (an important Japanese accented with a contemporary tassel, all resting on late 1800s Indian ceremonial monastery), with late 1800s Chinese Miao minority embroidery at top and bottom, cloth, atop contemporary Aegean textile with Lion pattern, with 1800s Pali prayer with contemporary painted Chinese tassel, wrapped at top with late 1800s religious book pages on top and bottom, all over acrylic paint on watercolor paper, then fabric from the Tibetan Tarr Monastery, resting on a mid-1800s infant’s receiving Dimensions: 35”W x 46”H (unframed) bordered with Indian sari cloth and 18th century Japanese screen paper veiled in blanket, flanked with 16th century Tibetan prayer pages, with thangka cloth with black Indian netting. deities also from the Tarr Monastery, accented with six 11th – 13th century Chinese cash coins, affixed with religious wax collected from holy temples an monasteries, all resting on a fragments from a late 1800s Chinese horse scroll painting, contemporary and vintage Indian sari cloth and gold-leafed and acid-washed early 1900s Miao minority embroidery, all weaved in painted bamboo paper, resting on 17th – 18th century Japanese screen paper, with Yixing plaster borders, molded and sculpted using 17th – 18th century Asian fabric stamps and chops, then gold-leafed and washed with paint, all on heavy 2 ply watercolor paper, mounted onto museum board.
e timeless art work of Michelle Samerjan