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Asia Week New York Additions Full Descriptions and Information on Works Available Upon Request FRANCESCA GALLOWAY Asia Week New York additions full descriptions and information on works available upon request opposite detail of cat.4 ASIA WEEK NEW YORK 2020 MARCH 12–19 1018 MADISON AVENUE (AT 78TH STREET) 1ST FLOOR AT STELLAN HOLM GALLERY NEW YORK 10075 T (917) 943 7737 | M +44 777 594 4098 OPENING HOURS MONDAY-FRIDAY, 10 AM - 5 PM SATURDAY & SUNDAY 11 AM – 5PM OPENING PARTY FRIDAY 13 MARCH 5 – 8PM www.francescagalloway.com opposite detail from cat.25 Two folios from a Sanskrit manuscript of the Ashtasahasrika Prajnaparamita (The Perfection of Wisdom in 8000 Verses) Buddhist illuminated manuscripts of the Perfection of Wisdom and similar Mahayana texts come from the great monasteries of eastern India (and also from monasteries in Nepal) in the 11th and 12th centu- ries. The miniatures, of the Buddhas, Bodhisattvas and other divinities both beneficent and terrifying were added to the texts not to illustrate the text but for protective purposes and to gain merit for the donors. In our manuscript the line is clear and the action depicted for energetic divinities exceptionally vivid. The divinities themselves are represented in accord with the modelled ideals of the classical Pala style found in Bihar (associated with the great Pala dynasty), although the shrines and backgrounds differ, suggesting perhaps that the artists have also been influenced by Bengali tradition (see Losty 1989A and Losty 1989B), perhaps in a monastery on the border between the provinces such as Vikramashila. Our two folios were formerly in the Heeramaneck collection (The Arts of India 1966, no. 117) and other folios are now in the Los Angeles County Museum (Pal 193, no. 8), the Virginia Museum of Fine Arts (Dye 2001, no. 65). Others are in the J.D. Rockefeller 3rd collection in the Asia Society Museum, New York, (Pal and Meech-Pekarik 1988, pl. 10, fig. 21). 1 The Bodhisattva Samantabhadra Folio from a Sanskrit manuscript in Kutila script on palm leaves of the Ashtasahasrika Prajnaparamita (The Perfection of Wisdom in 8000 Verses) Pala period, Bihar or Bengal, c. 1130-60 Opaque pigments on palm leaves Folio 6.5 x 44 cm Here we see Samantabhadra, one of the 18 great Bodhisattvas of the Vajrayana Buddhist tradition. He is depicted sitting cross-legged on a lotus seat wearing a jewelled tiara, his right arm disposed gracefully across his body holding what seems to be a vajra (thunderbolt), his left hand resting on his thigh holding the stem of a blue utpala lotus. Provenance Nasli Heeramaneck (1902-1971) collection 2 The Goddess Mahasitavati Folio from a Sanskrit manuscript in Kutila script on palm leaves of the Ashtasahasrika Prajnaparamita (The Perfection of Wisdom in 8000 Verses) Pala period, Bihar or Bengal, c. 1130-60 Opaque pigments on palm leaves Folio 6.5 x 44 cm Mahashitavati is one of the Raksha goddesses, the five goddesses who are invoked for protection from various evils. Here she is red in colour with three faces (subsidiary ones in white and blue) and has six arms. The lower pair are in vajrahumkara mudra, and the others hold a discus (cakra), thunderbolt (vajra), sword and a jewel or possibly a bell. She sits on a lotus throne within a shrine, surrounded by a grove of palm trees interspersed with white birds. The Bo- dhisattvas Manjushri and Avalokiteshvara are represented in the end margins of the folio and lotuses decorate the string holes. Provenance Nasli Heeramaneck (1902-1971) collection 3 Rustam takes aim at Ashkabus Folio from the Jainesque Sultanate Shahnama Sultanate India, c. 1450 Folio 31.8 x 25.6 cm; Painting 13.7 x 20.5 cm This episode takes place following Rustam’s arrival at the beleaguered Iranian camp atop Mt. Hamavan. In the ensuing battle, a mighty Turanian called Ashkabus challenges an Iranian to battle; Rustam steps forward on foot to take up the challenge. Ashkabus showers Rustam with arrows. Un- harmed, Rustam draws his bow, dispatching first Ashkabus’ steed and then the warrior himself. This manuscript of the Persian epicShahnama first appeared on the mar- ket, incomplete, in the 1980s (published Goswamy 1988 & 2011). The Rietberg Museum acquired 20 folios as well as a folio with late 17th cen- tury seal impressions. Other folios can also be found in the Museum fur Asiatische Kunst, Berlin, the Musee Guimet, Paris, the David Collection, Copenhagen, the Freer and Sackler Gallery, Washington DC, the Asian Art Museum in San Francisco and the Bellak collection in Philadelphia Mu- seum of Art . The importance of the manuscript rests in its unique treatment of a Persian classic text illustrated by an artist steeped in the Jain and Hindu Western Indian traditions. For detailed discussion of this whole Sultanate period and its manuscripts, see Khandalavala and Chandra 1969, supplemented by Losty 1982, ch. 2 and Brac de la Perrière 2008. The actual place of production of all these manuscripts is still a matter of scholarly debate, but Gujarat or Mandu seem the most likely for this Shahnama manuscript. 4 A swordbearer - from an Imperial portrait album Mughal, c. 1590 Opaque pigments with gold and silver on paper Folio 24.9 x 14.6 cm; Painting 10 x 8 cm Abu’l Fazl in his A’in-i Akbari records that Akbar ordered an album of portraits to be prepared at a time when portraiture was an art in its in- fancy in the Mughal court. His interest was awakened by seeing many examples of European portraiture mostly in print form. The great and the good at court were thus recorded for posterity (Stronge 2002, pp. 100-02; Losty and Roy 2012, pp. 75-78), as well as many of lesser rank. Abu’l Fazl seems to be referring to the album being started in the 1590s, which appears to be the date of most such portraits. None- theless there are earlier examples of portraits done in the Mughal stu- dio such as this one, where the subjects wear somewhat old-fashioned dress as in our man’s chakdar jama, at a time when it was going out of fashion in favour of the round-bottomedjama . For others see Brand and Lowry 1985, nos. 47-55, who suggest that several albums could have been produced from about 1574 onwards as visual equivalents to the establishment of the Records Office. A portrait of Raja Rai Singh of Bikaner c. 1590 in a private collection is close to ours in composi- tion (ibid., no. 47), althogh the Raja’s head is in three-quarter profile. Provenance Milo Cleveland Beach Stuart Cary Welch 5 Babur receives an envoy from Uzun Hasan when lying sick in 1497 Folio from the First Baburnama Imperial Mughal, made for Emperor Akbar, 1589–90 Opaque pigments, ink and gold on paper Folio 30.3 x 19.5 cm; Painting 20.7 x 12.5 cm The memoirs of Babur, founder of the Mughal empire, are known as the Baburnama, and are among the most interesting of pre-modern autobio- graphical books. His grandson Emperor Akbar oversaw its translation into Persian and illustration by his court artists. This painting shows a servant of the Aqqoyunlu ruler Uzun Hasan being admitted to the presence of the sick Babur in the year 1497. Just after Babur had taken Samarkand in 1497, he became very sick and was lying near death’s door for four days. During this time the rebel Uzun Hasan laid siege to Babur’s old capital of Andijan and took it. Thebegs were each seeking their own advantage in this perilous situation and accordingly admitted the rebel’s messenger into Babur’s chamber (Beveridge translation of the Baburnama, pp. 86–87; Thackston translation, pp. 64–65). This FirstBaburnama was dispersed in a sale in London in 1913, through the bookseller Luzac. Twenty folios are in the V&A (Stronge 2002, pp. 86–91). Other groups of leaves are in the Freer Gallery of Art, Washington and the Chester Beatty Library, Dublin. At least three more illustrated manuscripts based on this first version were produced within the next ten years, which are now in the British Library (Suleiman 1970); divided between the Moscow State Museum of Eastern Cultures and the Walters Art Gallery Baltimore; and in the National Museum. New Delhi (Randhawa 1983). Provenance Ludwig Habighorst collection Luzac & Co, London, 1913 6 Battle between Khwaja Qazi and Aba-bikr at Uzgend in 1493-4 Folio from the First Baburnama Imperial Mughal, made for Emperor Akbar, c. 1589 Opaque pigments with gold on paper Folio 26.5 x 15.5 cm; Painting 24.9 x 13.5 cm The miniature illustrates an event from the early part of Babur’s mem- oirs while he was still a youth in his home area of Farghana where local chiefs were struggling with one another for land and authority. ‘For some years, Aba-bikr Kashgari Dughlat, bowing the head to no- one, had been supreme in Kashgar Khutan. He now, moved like the rest by desire for my country, came to the neighbourhood of Auzkint [Uzgend], built a fort and began to lay waste the land. Khwaja Qazi and several begs were appointed to drive him out. When they came near, he saw himself no match for such a force, made the Khwaja his mediator and, by a hundred wiles and tricks, got himself safely free.’ (Beveridge, p. 32) The spontaneity, simplicity and forthright vigour of the paintings from the first copy of theBaburnama are far more in keeping with the text than are the more complex ornate paintings of the manuscripts that followed. Three laterBaburnamas are dispearsed between museums in London, Moscow, Baltimore and New Delhi.
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