Catalog: Antiques: Regional Art (183)

Rare Nepalese Shaman's Ritual Harness and Belt Suit of Bells, Feathers, Animal Hide, Shells, Fur, Metal, and Fabric. From the collection of Sam Hilu, prominent collector and author on Asian and African art. An old and rare piece that was used in rituals performed by a West Nepalese Shaman of the Magar Tribe in the Rukum District. Beautifully mounted and displayed on a custom metal stand. The suit was constructed in the 19th Century, but many of the bells used in constructing the suit date as far back as the 16th Century. 32 inches, 81 cm.

This is a truly one-of-a-kind masterpiece of exquisite beauty that rewards long and repeated viewing. We have never seen a silver Joseon Dynasty lady's dagger (eunjangdo) with engraving entirely in a floral motif like this. The details are stunningly rendered along every millimeter of this fine work of art. Beyond the beauty of the luxurious surface, there is a deeper and thoughtful design that incorporates symbolism from ancient history. It is engraved with akebia mountain root (symbol of good health), lotus blossom (symbol of rebirth, because the lotus rises above the muck of the pond to show its face to the Sun), azalea (symbol of beauty and the "city flower" chosen by many of Korea's cities), peony (symbol of abundance because of its copious petals), banana leaf (the huge leaves are considered auspicious), plum blossoms (symbol of courage because they bloom before winter is not quite finished), and Korea's mugunghhwa national flower, the rose of sharon. Orchids are an ancient Korean symbol of purity, modesty, and virtue. The rock symbolizes eternity, so the combination of orchids and rock have the meaning of eternal adherence to principle. The dragonfly here is a symbol of purity. The small band in the middle has a key fret thunder pattern. Eunjangdo were worn by women of rank as a chest pendant and a symbol of their social standing. This dagger also served as a tool to save women from personal humiliation or peril, not by attacking an assailant but by killing themselves, under the Confucian moral obligation of medieval Korea 'to remain faithful to one spouse'. The silver chopsticks were used to determine the safety of food, as they would turn color if poison was present. 6 inches, 15 cm.

The classic yongmok samcheung-jang (Korean zelkova root chest with three levels) is probably the most-widely imitated type of Korean antique chest among the reproductions that are all over the internet. This exquisite and genuine 19th Century Joseon Dynasty yongmok samcheung-jang will surely be the showcase piece in any collection. Yongmok is zelkova root, and literally translates to dragon burlwood, which describes the shapes of dragons that can be seen in the very fancy grain of the zelkova root. This chest is a particularly rare and fine example in exceptionally good condition. If you ever do see an old and fine Korean chest of zelkova, it is always just the panels that are of zelkova, while the frame is pine. This rare chest actually uses zelkova for both the panels and the frame, so that the entire front is zelkova. The effect is quite stunning. The other sides are constructed of a fine wide-grained paulownia wood. The stand is carved in the shape of a bat, an ancient Korean symbol of good fortune, because bat and good fortune share the same pronunciation. Other than the cheaply-made reproductions of these that you see all over the internet (most of which are dishonestly described as antiques and are not even made in Korea), it is unlikely that you will see another genuine Joseon Dynasty Dragon Burlwood Three-Level Chest for sale, other than in Korea, where it will sell for multiples of this price. We receive emails almost weekly from factories in China that sell the reproductions very cheaply. Unlike some other dealers, we have never accepted these offers. There's nothing like the look of rare and exotic zelkova root that has aged for over 100 years. Unlike the reproductions, this genuine article will last for generations and the beauty of the old wood will only deepen and increase with age, making it a fine heirloom for a proud family. 64h x 43w x 20.75d inches, 162.5h x 109w x 52.75d cm.

We have been trying since we opened 18 years ago to acquire a Kim Gyu Jin painting, but they are all either stored in museums or firmly entrenched in private collections. His works are in the collections of the world's biggest museums, including the Metropolitan Museum and the British Museum. There is just one other one on the market, as shown in the last photo here. It is also an orchids painting and it is being offered by a retiring gallery owner for a price reduced from $9000.00 to a "sale" price of $6500.00. So it is with great pride that we offer for the first time a painting by Korean Joseon Dynasty Royal Court artist Kim Gyu Jin. This painting is a fine example of the range of Kim Gyu Jin's brushwork, from dynamic sweeping strokes to quietly rendered details. Kim Gyu Jin aka Haegang (1868-1933) had a tremendous influence on Korean art through his paintings, the art organization he founded (Seohwa Hyeophoe Calligraphy and Painting Association), and his textbooks that became canon in art studies. He taught painting and calligraphy to King Gojong and to the crown prince and he was commissioned by King Sukjong to paint the murals at Changdok Palace. Orchids are an ancient Korean symbol of purity, modesty, and virtue. The rock symbolizes eternity, so the combination of orchids and rock have the meaning of eternal adherence to principle. The orchid grows in remote places, but its fragrance spreads over the land, just as the scholar often works in isolation, but through their scholarly and ethical works their influence is felt throughout the land. Talented painters of orchids were and still are held in the highest regard, and Kim Gyu Jin is unanimously regarded as one of the best. Ink on paper. Scroll Mounting: 79 x 20.5 inches (201 x 52 cm), 54 x 13.5 inches (137 x 34 cm).

Rare and Important Work of Calligraphy by the man designated in every textbook in the East and West as the Pioneering Father of 20th Century Art in Korea, An Jung Sik (also spelled Ahn Jung Sik), 1861-1919 (pen name Simjeon), calligrapher, scholar, royal court painter (he painted the portraits of the last two kings of Korea), and co-founder of KOrea's first modern art school. Paintings by An Jung Sik are by law not allowed to leave Korea, so they are rare in the West. His works of calligraphy are even more rare. So it is with pride that we offer what may be the only An Jung Sik calligraphy ever offered for sale outside of Korea. Calligraphy is regarded as the highest art form throughout East Asia. An Jung Sik studied calligraphy in China and Korea, and helped establish the Seoul Calligraphy and Fine Arts School in 1911, and co-founded, along with O Se Chang, the Association of Painting and Calligraphy Artists in 1918. Kim Eun Ho, Yi Sang Beom, and Jang Seung Eop are just a few of his students who went on to fame as some of Korea's greatest artists. An Jung Sik himself studied under the man widely regarded as one of the most important 19th Century Korean artists, Jang Seung Eop (pen name Owon). This is a large piece at 61 x 22 inches, 155 x 56 cm. An Jung Sik's calligraphy is currently prominently featured in the Los Angeles County Museum of Art's exhibition on Korean calligraphy, Beyond Line: The Art of Korean Writing.

Geese and Reeds Painting (Noando) on fine silk mounted on luxurious gold silk by Yang Ki Hun aka Seokyeon (1843-1897) from Pyeongyang, signed Seokyeon. Yang Ki Hun's signature 'boneless' style (painting without outlines, using ink washes) beautifully captures light and shade. The literal meaning of 'noando' is reed and geese painting, but it is a play on words, as 'no' means both reed and old, and 'an' means both geese and comfort ('do' means painting). So 'noan' can mean 'reed and geese' or 'old comfort', and so a painting of geese and reeds symbolized a wish for a comfortable and peaceful old age. This particular painting has further meaning because it depicts two pair of geese. Geese were believed to mate for life, so this painting symbolizes eternal love, and the wish for a couple to grow old together in peace and comfort. Yang Ki Hun was a member of the Royal Academy of Painting in the 19th Century. He made a living by painting for the king and his court, and also by selling his paintings in Pyeongyang. Here are two great quotes from Yang Ki Hun's contemporary, the painter and calligrapher Chi Un Yeong (aka Paekryeon): "Yang Ki Hun's paintings stir up my jealousy because they seem completely freed from all ideas and restraints". And after Seokyeon (Yang Ki Hun) passed away, Chi Un Yeong wrote, "Seokyeon told me that when he stayed on Neungna Island for a few years some time ago, he often saw geese fly in and land on a reed field, so he was able to paint them in a realistic way. His words still linger vividly in my ears. I remember playing with him thirty years ago in the Taedong River, and it seems so far away and dream-like." Ink on paper. Silk Mounting: 76 x 19.5 inches, 193 x 49.5 cm; Painting: 44 x 14 inches, 112 x 35.5 cm. The fifth photo here shows the market price for Yang Ki Hun paintings, which is much higher than the attractive price at which we are offering this fine painting.

Geese and Reeds Painting (Noando) mounted on luxurious gold silk by Yang Ki Hun aka Seokyeon (1843-1897) from Pyeongyang, signed Seokyeon. Yang Ki Hun's signature 'boneless' style (painting without outlines, using ink washes) beautifully captures light and shade. The literal meaning of 'noando' is reed and geese painting, but it is a play on words, as 'no' means both reed and old, and 'an' means both geese and comfort ('do' means painting). So 'noan' can mean 'reed and geese' or 'old comfort', and so a painting of geese and reeds symbolized a wish for a comfortable and peaceful old age. This particular painting has further meaning because it depicts two pair of geese. Geese were believed to mate for life, so this painting symbolizes eternal love, and the wish for a couple to grow old together in peace and comfort. Yang Ki Hun was a member of the Royal Academy of Painting in the 19th Century. He made a living by painting for the king and his court, and also by selling his paintings in Pyeongyang. Here are two great quotes from Yang Ki Hun's contemporary, the painter and calligrapher Chi Un Yeong (aka Paekryeon): "Yang Ki Hun's paintings stir up my jealousy because they seem completely freed from all ideas and restraints". And after Seokyeon (Yang Ki Hun) passed away, Chi Un Yeong wrote, "Seokyeon told me that when he stayed on Neungna Island for a few years some time ago, he often saw geese fly in and land on a reed field, so he was able to paint them in a realistic way. His words still linger vividly in my ears. I remember playing with him thirty years ago in the Taedong River, and it seems so far away and dream-like." Ink on paper. Silk Mounting: 67 x 16.5 inches, 170 x 42 cm; Painting: 48.75 x 12 inches, 124 x 30.5 cm. The third photo here shows the market price for Yang Ki Hun paintings, which is much higher than the attractive price at which we are offering this fine painting.

Calligraphy by Korea's Most Famous Calligrapher, O Se Chang aka Wichang (1864 - 1953). Not only is O Se Chang the most renowned calligrapher in Korean history, his books on calligraphy have become the definitive texts on the subject. He is famous for his works in seal script, as in this example here. 53 x 12 inches, 134 x 30 cm, unmounted. O Se Chang's calligraphy is currently prominently featured in the Los Angeles County Museum of Art's exhibition on Korean calligraphy, Beyond Line: The Art of Korean Writing, including his work on loan from the National Museum of Korea.

Rare 5th Century Korean Gaya Water Jar of Classic Form, Color, and Design. The decoration is incised into the clay between the carved bands before firing. Gaya was a confederation of small states independent from and influential on the the Silla Kingdom and its pottery, until Silla annexed Gaya in the 6th Century. The long neck keeps water from sloshing out while the jar is being carried. Height: 10 inches, 25.5 cm.

This is the only calligraphy by Kim Eung Won aka Soho (1855-1921) we have ever seen offered for sale. His skill was so revered that the prince Daewongun paid Kim Eung Won to paint many of the works for which the prince took credit. Ink on paper. Mount: 73 x 15 inches (185.5 x 38 cm), Calligraphy: 51 x 12 inches (130 x 30 cm).

19th Century Korean Sword with missing scabbard. Condition is good but slightly shaky. Overall length is 35 inches (89cm), blade is 26 inches (66cm).

A fine example of a Joseon Dynasty Korean tiger hunting painting, that makes use of the best quality pigments and finest silk, and is rendered with the highest level of artistry and skill, likely by a painter from the royal court. A similar painting recently sold at auction in Korea for $5500. Unique to Korea, almost all Korean hunting paintings depict hunters in Mongolian costume. In spite of the Mongols' brutal occupation of Korea in the 13th Century, Koreans maintained great admiration for Mongolian hunting and equestrian skills. This painting is one of a pair. The other painting is on this website (Stock #1186). Scroll: 50 x 17 inches (127 x 43 cm); Painting: 27 x 13 inches (68.5 x 33 cm).

A Fine and Old Painting of Dokseong, Korea's Hermit Saint in a most beautiful landscape. This gorgeous painting has a phenomenal dark patina that could only have developed through years of ritual use and adds greatly to the contemplative beauty and serenity of this very special work of art. Dokseong is pictured in an inspiring remote mountain forest, a Daoist style landscape where he seeks solitude and self-cultivation. His attire is that of a Buddhist monk. He is revered by Buddhists and Shamans. Paintings of Dokseong are the most constant companions of Sansin (Mountain God) paintings in the Sansin-gak Shrine of Buddhist temples in Korea. Some temples even give Dokseong his own shrine, the Dokseong-gak. There is an old inscription at the bottom of the painting. Frame: 34.75 x 26 inches (88 x 66 cm), Painting: 29.75 x 21 inches (75.5 x 53.5 cm).

17th Century White Tara Tibetan Thangka. The White Tara goddess symbolizes transcendent knowledge and purity. In ancient Tibet, it was believed that Tara was reincarnated in every virtuous and pious woman. She was born from the eye of Avalokitesvara, the Bodhisattva of compassion, and became his wife. Most of these thangka were photographed through glass frames, so there may be a little blurriness. This thankga was in an exhibition at the University of Texas Art Museum. Mineral pigments on silk. 12 x 10 inches, 30 x 25 cm.

Tibetan Tiger Mask, 10x9x7 inches, 25.5x23x18 cm.

Antique Korean Black Inkstone Box and Antique Inkstone. The poem on the lid is a beautiful work of calligraphy. It can be read in two directions as "Celebrated mountain object" and "Celebrated mountain extraordinary wisdom", meaning that this object will be used in the pursuit of wisdom. The inkstone has a banana leaf motif, referencing the 8th Century Chinese scholar and celebrated calligrapher, Huaisu who wrote on banana leaves when he ran out of paper. A rare and most interesting find. 9.5w x 6d x 2.75h inches, 24w x 15d x 7h cm.

Nepalese Mask from the Humla Region with a beard, eyebrows, and scalp. 9 inches, 23 cm.

Mongolian Priest Mask from Humia, Nepal, collected by Eric Chazot, 9.5 inches, 24 cm.