The Remarkable Palace Museum: Keeping Pace with Modernity

by Lin Mun-lee, Director of the National Palace Museum, Taipei.

Lin introduces the plans and goals for the museum's future, as its role shifts from a passive to an active one. Lin states that it has surpassed its original function as a storehouse for cultural relics, and is no longer just another bureaucracy or even a cultural institution, and believes that the museum will play both an aggressive as well as positive role in the shaping of civilization during the 21st century.

Skylight with motifs from Huai Su's Autobiography, National Palace Museum, Taipei

by Ho Chuan-hsing, Curator at the Department of Painting and Calligraphy, National Palace Museum, Taipei.

More than seventy examples of painting and calligraphy from the Northern Song period will be on display at `Grand View', a series of special exhibitions held at the National Palace Museum in Taipei from 25 December 2006 to 25 March 2007 to celebrate the opening of its new galleries. Two are by the legendary literatus and artist Su Shi: Former Ode on the Red Cliff (Qian Chibi fu) and The Cold Food Observance (Huangzhou hanshi si). In this article, Ho examines these works; they differ greatly in both calligraphic style and subject-matter, even though they were written just a year apart. Ho enquires as to the influences on the calligrapher at the time of composition and how these are reflected in his work.

Detail of Former Ode on the Red Cliff By Su Shi (1036-1101), c. 1083 Handscroll, ink on paper Height 23.9 cm, length 258 cm National Palace Museum, Taipei (Gushu 000068)

by Yu Peichin, Research Fellow and Section Head at the Department of Antiquities, National Palace Museum, Taipei.

Since the 16th century, Ru ware has been regarded by the connoisseur as the finest of Northern Song ceramics. These too form part of the `Grand View' series of exhibitions at the National Palace Museum in Taipei. Yu investigates how this group of artefacts has been collected and their transmission, specifically their circulation in the 18th century Qing palace - which relates very closely to the origins of the collection in the NPM. Yu looks at the 21 pieces of Ru ware in the NPM, of which thirteen have poems written by Emperor Qianlong carved on their bases. In these inscriptions, Qianlong not only expressed challenging aesthetic perceptions of Ru ware, but also delivered judgement on their provenance. Yu examines the emperor's judgement and verdict on the pieces he marked, as well as considering other Ru wares in the imperial collection.

Fenghua mallet vase Northern Song period (960 - 1127) Ru Ware Height 22.4 cm National Palace Museum, Taipei (Guci 017856)

Base of the vase showing the Fenghua mark and the inscribed poem by Emperor Qianlong

by Yunru Chen, Assistant Curator at the National Palace Museum, Taipei.

Should Emperor Huizong of the Song dynasty be viewed primarily as an artist who was also an emperor, or an emperor who was also an artist? However one characterizes him, there is no doubt that he played a unique role in the development of painting during the Northern Song period. In recent years the nature of his role has become clearer as scholars have gradually refined their understanding of the relationship between Emperor Huizong and the Imperial Painting Academy under his patronage. This article focuses on one work in the exhibition `Grand View', the hanging scroll Literary Gathering (Wenhui tu) by Huizong, as a means of demonstrating particular ways in which the emperor contributed fresh elements to the painting tradition and endowed standardized themes with further layers of meaning.

Detail of Literary Gathering by Emperor Huizong (r. 1101-25) Hanging Scroll, ink and colour on silk Height 184.4 cm, width 123.9 cm National Palace Museum, Taipei (K2A00836)

by Wu Pi-Yung, Associate Curator at the Department of Books and Documents, National Palace Museum, Taipei.

The invention of paper, which occurred in China at least two millennia ago, was a giant step forward in the cultural history of mankind, as it allowed the copying in book form of works previously inscribed on bamboo slips or pieces of silk. The use of woodblock printing was another major step, making possible for the first time the easy propagation and dissemination of knowledge. The Song dynasty effectively created a new model in the history of woodblock printing, the influence of which has been profound and enduring; and it is with the aim of demonstrating the depth and breadth of this achievement that the National Palace Museum in Taipei has organized `Grand View: A Special Exhibition of Sung Dynasty Rare Books'. Here, Wu summarizes some of the main points elucidated by the respective sections of the exhibition.

Erya Annotated by Guo Pu, Jin period (265-420) Imprint by the Directorate of Education, Southern Song Period (1127-1279) Height 24.2 cm, width 17 cm National Palace Museum, Taipei (K3A003311-003313)

by Yang Xiaoneng, Curator of Chinese Art at The Nelson-Atkins Museum of Art, Kansas City.

The archaeological excavation of Ming period remains has been tremendously enlightening for our understanding of the production and use of textiles and ceramics, especially silk and porcelain, two of China's signature handicrafts. While providing a summary of some significant finds, this article also serves to highlight their importance and implication as sources of information, thereby suggesting directions for future research. Yang covers items as varied as clothing, silk, jade and Zisha teapots, among other areas.

Jar and cover Unearthed at Chaoyang, Beijing Jiaqin period (1522-66) Porcelain with wucai decoration Height 46 cm National Museum of China

by Chang Qing, curatorial fellow at the Ackland Art Museum, University of North Carolina, Chapel Hill.

In the aftermath of investigations by Western scholars of the Longmen grottoes in Luoyang, Henan province during the first decade of the 20th century, sculptures from this famous site began to be removed and dispersed among dealers and collectors. Longmen sculptures, and sculptures reportedly from Longmen, first entered the collection of The Metropolitan Museum of Art in 1918; they have since been the subject of exhibitions and scholarly publications. Scholars studying sculptures from Longmen in Western collections often focus on particular iconographic and stylistic characteristics in order to address questions of provenance and authenticity. This article deals with these two issues in an attempt to clarify the origin of the works in the Metropolitan.

Head of Kasyapa From Yaofang cave, Longmen, Henan province Northern Qi period, second half of the 6th century Limestone Height 53.3 cm, width 37.8 cm The Metropolitan Museum of Art Harris Brisbane Dick Fund (1960.73.1)

Buddha and two disciples Yaofang cave (Cave V), Longmen, Henan province Northern Qi period, second half of the 6th century Limestone (After Chavannes, plates part I, no. 350)

by T. June Li, Curator, Chinese Garden at The Huntington Library, Art Collections, and Botanical Gardens.

The Huntington Library, Art Collections, and Botanical Gardens in San Marino, California, held its first exhibition of Chinese art from 8 August 2006 to 7 January 2007. Titled `Chrysanthemums on the Eastern Hedge: Gardens and Plants in Chinese Art', the 55 paintings and objects on display were brought together from museums and private collections nationwide to celebrate the completion of a one acre lake with three islands and five bridges, the centrepiece of the Chinese garden being built on the grounds. In this piece, Li looks at the history of the collection, the garden itself, and examines the works from the exhibition and the garden-related motifs they contain.

Chinese garden lake at The Huntington showing the bridge, lotus and fish, summer 2006 (Photograph courtesy of The Huntington Library, Art Collections and Botanical Gardens

by Nancy Berliner, Curator of Chinese Art at the Peabody Essex Museum, Salem, Massachusetts.

Berliner addresses the works on display at the Peabody Essex Museum's current exhibition `Inspired by China: Contemporary Furnituremakers Explore Chinese Traditions'. For this project, the museum invited 22 of the foremost studio furnituremakers from the United States, Canada and China, to attend a workshop. The participants, including Shi Jianmin, Shao Fan and Ai Weiwei among others, had the opportunity to listen to lectures, watch demonstrations of traditional Chinese furnituremaking and study in-depth forty examples of historical Chinese furniture. They then returned home to create works inspired by their experience with Chinese techniques and styles, and the resulting creations are now on exhibit at the museum, along with the historical Chinese pieces that inspired them, most of which have never before been publicly displayed or published.

Round Stool By Shao Fan (b. 1964), 2005 Elm Height 51 cm, width 96.5 cm, depth 66 cm

Susan Conway reviews a guide to the former royal capital of Laos, Luang Prabang. `Ancient Luang Prabang', by Denise Heywood provides the reader with information on architecture, sculpture, local performances and the purchasing of regional art alongside a historical, political and geographic introduction to the country.

Wat Xieng Thong, Luang Prabang

Leisurely Pursuits of Orientations Readers From left: Melanie Trede, Lorenz Bichler, Alexander Hofman, Adele Schlombs, Julia Meech, John Weber and Yoshie and Klaus Naumann at a dinner hosted by the Naumanns and Weber on 13 October at the Schlosshotel to celebrate the opening of the exhibitions `Arts of Japan: The John C. Weber Collection' and `A Japanese Taste for Lacquer: The Klaus F. Naumann Collection' commemorating the centenary of the Museum of East Asian Art, Berlin. After 7 January 2007, the Weber collection will go to the Museum of Fine Arts, Boston (18 August 2007 - 13 January 2008) and the Minneapolis Institute of Arts (24 February - 25 May 2008), and the Naumann collection will be shown at the Museum of Lacquer Art, Munster, (7 October - 30 December 2007) (see articles in Orientations, October 2006, pp. 49-87).

In May 2006, Woodman Taylor assumed the position of Assistant Curator of South Asian and Islamic Art at the Museum of Fine Arts, Boston. Having lived in India until the age of eighteen, Taylor is bilingual in English and Hindi. Previously, he was Curatorial Associate in the Department of Islamic and Later Indian Art at Harvard University Art Museums, then moved to the Art Institute of Chicago, where he received his doctorate in 1997. In his new role, Taylor will interpret the MFA's South Asian and Islamic art collections and continue to build upon them, especially in two areas not currently represented - paintings of the Shantiniketan Bengal School and contemporary South Asian art.

Giuseppe Eskenazi was appointed Chevalier of the Legion d'honneur at the Palais Royal in Paris 14 September 2006 for services to the arts, in particular Chinese art. The ceremony was conducted by the Minister for Culture, Renaud Donnedieu de Vabres. The citation from president Chirac honoured Eskenazi for having supplied remarkable works of art to museums around the world, in particular the Musée Guimet, Paris.

Giuseppe Eskenazi giving his acceptance speech

Kathmandu's Garden of Dreams at Kaiser Mahal reopened to the public on 8 October 2006, after six years of extensive restoration. It was originally established as a private garden by Field Marshal Kaiser Shumsher J.B. Rana in the 1920s, but later fell into disrepair for more than 30 years. The renovation project which cost US$1 million was funded by the Austrian government, in cooperation with the Ministry of Education, and has been carried out by Eco Himal, who created the Patan Museum ten years ago. The project aims to be self-sustaining by using the admission fees and proceeds from the cafe, bar, private functions and cultural events.

The Gardens of Dreams at Kaiser Mahal, Kathmandu

The Walter C. Sedgwick collections of Japanese Buddhist sculpture and early Chinese ceramics were acquired by Harvard University Art Museums, 13 October 2006. Among the three Japanese figures is a statue of Buddhist patron Prince Shotoku (574-622) as a child, complete with more that 70 ritual items used as dedicatory contents. The Chinese ceramics collection focuses on early pieces, illustrating their aesthetic, stylistic and technical development, and numbers over 300 items. Sedgwick commented that he wants the gift to be used for educative purposes, and hopes it will inspire additional scholarship in Asian art.

On 17 November 2006 the Leung Ancestral Hall in Yuen Kong village, Yuen Long, Hong Kong was declared an historic building. Following complete restoration to its original splendour, the Antiquities and Monuments Office is arranging to open the hall for public viewing.

The University of Virginia Art Museum is to hold a special exhibition highlighting their collection of Indian painting, curated by Daniel Ehnbom. `Intensity of Observation and Infinite Significance: Indian Painting at the University of Virginia Art Museum' runs 10 January to 18 March. It features works from the 15th to the 18th century, selected for their quality, range historical importance and thematic interest from the permanent collection, supplemented by private loans. It is hoped that the event will raise the profile of the museum as a repository of Indian painting.

by Annie Counter

`Collecting "China": Objects, Materiality, and Multicultural Collectors', University of Delaware and Winterthur Museum & Country Estate
29 September to 1 October 2006

Counter reports on the conference, which addressed the study of `Chinese objects' and the collection thereof and their relation to the study of Chinese art, architecture and archaeology in recent decades. The interdisciplinary event focused on the collecting practices of `Chinese objects' in multicultural contexts. Among others, speakers and topics included Eugene Wang of Harvard University, who addressed the links between collectors and the things they collect; Vimalin Rujivacharakul from the University of Delaware, who talked about the interconnection of wu (things) and gewu (to investigate things/bring forth intuitive knowledge); and Wen-Hsin Yeh, U.C. Berkeley, who questioned the practices of prescribing meanings to object by cultural codes and time periods.

The fair runs from 19 to 28 January at the Tour and Taxis complex in Brussels. Around 120 dealers will participate, bringing a wide selection of both antique and contemporary arts including some from Asia. Christian Deydier of Oriental Bronzes will be showing a Dong Son culture bronze situla from northern Vietnam. The vessel's thin casting, looped handles, and decoration depicting warriors and boats make it particularly attractive.
Among Tanakaya's range of ukiyo-e and shin-hanga prints, are several in perfect condition by Hiroshige from the series Famous Views of Edo, including Sudden Shower Over the Great Bridge at Atake.
Ming-K'i Gallery will focus on burial items from ancient China. Highlights include a Tang period sancai horse and female rider, the glaze colour on the woman's clothing contrasting well with the rich amber-brown of the steed.
An impressive 18th century life-size inscribed bronze of Shakyamuni from Mandalay will probably form the centrepiece of Georgia Chrischilles's stand. The sculpture with its attractive bluish-green and brown patina is one of the finest known to Chrischilles.
Luc van Mulders of Zen Gallery's display will focus on Buddhist statuary, including Burmese wooden buddhas from the Pagan and Ava periods.
Classical Chinese art forms the core of Artcade's display. A group of early Song period ceramics can be seen, as can a Six Dynasties period turtle-shaped inkstone. Among the Tang bronze mirrors, an example depicting the legend of Confucius and Rong Qiqi is exceptional for both its size and decoration.

Shakyamuni Burma, Mandalay, 18th century Bronze Height 114 cm Georgia Chrischilles

The show runs from 1 to 4 February and features 85 international dealers in Asian art. As part of the show, Chinalai Gallery will hold a unique exhibition of Cambodian ikat. It will feature luminous silk weavings such as temple and altar hangings and items worn by royalty. The hangings are particularly noteworthy as they display pictures and narratives, which demonstrates the weaver's technical accomplishment.
Marc Richards likes to bring pieces that match the sophistication of the attendees, including this year a pair of Han period vessels with plenty of original pigment.

Welcome to the World's Famous Brands By the Luo Brothers (b. 1963, 1964 and 1972), 2004 Painted lacquer on wood Height 55.9 cm, width 50.8 cm Marc Richards

Of particular note among Shibui Japanese Antiques's range of Japanese art, folk art and antiques, is a lifelike Meiji period mulberry wood okimono of three puppies playing, signed on its base by Toko. Among Angelo Attilio Attili's interesting collection of Tibetan bronze figures dating from the 15th to 18th century, is a fine bodhisattva head with detailed hair ornamentation. He will also show a selection of unusual items from Southeast Asia, and a collection of Song porcelain as well.
New works by Chen Mingzhi, a young artist from Fujian province, can be seen at Augusta664. The artist carves teapots and ancient cups from Shoushan and Balin stone, in a style that conveys both traditional and modern elements.
Korean elm wood mat-weights are among the range of items that can be seen at INJA's stand. One piece of note is a Japanese stand for a temple Buddha in the form of a reclining shishi. Lyons Ltd. Antique Prints will showcase ukiyo-e from the 18th and 19th century. Large scale kakemono-e and a pillar print, hashira-e can be seen. Among the prints is a notable example by Toyokumi III; Geisha with Cherry Blossoms depicts its subject with elaborate hairpins and a phoenix-patterned kimono.
A royal tube-sarong from Yamdana island, Tanimbar group, in eastern Indonesia is a prominent item from Balinese gallerist Murni. Specializing in Indonesian textiles and ceremonial items, Murni's display also includes tribal jewellery.
Xanadu Gallery's fine group of Tibetan gilt bronzes, include a large figure of Vajradhara seated in meditation. There are also several examples of Khmer sculpture, for example, stone figures and an architectural stele.
A selection of antique Japanese silk will be presented by The Textile Art Collection. Taking centre stage is a Meiji period meisen kimono boldly decorated with hand-stencilled irises, a flower associated with the Meiji shrine.
Ancient Dian bronzes from southwest China dating from the Eastern Zhou to Western Han period form the highlight of Wei Asian Arts's display. Newcomer Normand St-Denis will offer a selection of items from Indonesia and South Asia. Ceremonial textiles from Lampung, Sumatra and Central Sulawesi can be seen, as can batik from the north coast of Java and tie-dyed cloth from Gujarat.
Bachmann Eckenstein Art & Antiques will focus on Japanese paintings and ceramics as well as implements used in the tea ceremony. They will also bring a selection of 20th century Zen ceramics, and an 8th century Korean ceramic vessel.
A pair of 18th century folding screens of the Kano School depicting the four seasons are of particular interest on Roger Dunn's stand. There will also be a wide selection of woodblock prints, with a focus on the landscapes of Hiroshige.
Offering objects gathered during her expeditions to remote parts of China, Wenhua Liu will bring Chinese minority textiles to the show. Among these is a multi-layered cotton jacket from the highland Hani minority of Guizhou and Yunnan province. Thomas Murray is featuring textiles including a `squid' type initiation sarong not seen on the market for more than 20 years will also be on display.

This show returns to the Palm Beach County Convention Center from 16 to 20 February. With over 200 dealers taking part, including those specializing in Asian art, it is the largest vetted event of its kind in the US.
One highlight to be shown by UK-based Sue Ollemans is a South Indian gold necklace set with clear Burmese rubies and pearls.
Along with an eclectic mix of Chinese scholar's items, ceramics, folk art and Southeast Asian Buddhist imagery, L'Asie Exotique will also be featuring Japanese items relating to Edo period Kabuki theatre, and include dynamic woodblock prints, Takeda ningyo and costumes.
Marc Richards will bring a collection of Han and Tang period figures, including warriors, imperial attendants, camels with riders and imperial court ladies.

Lokapala China, Tang period (618-97 Pottery with blue glaze Height 50.8 cm TK Asian Antiquities

TK Asian Antiquities will show examples of Tang period ritual sculptures and ceremonial vessels decorated with the blue glaze associated only with the nobility. Among them is a striking example of a lokapala. A selection of Chinese bronzes, lacquers and ceramics will be shown concurrently.
Among the archaic jades that Jem Hom will bring is a figure of a kneeling winged shaman. The figure is carved from translucent white jade, and dates to the Spring and Autumn or Warring States period.

Lucerne and Beijing

Galerie Urs Meile is holding displays of oil paintings by two contemporary Chinese artists on two different continents. The work of Xia Xing can be seen at their branch in Lucerne, Switzerland, in the exhibition `2005', 3 February to 17 March. In Beijing, the gallery will be showing pieces by Wang Xingwei from 10 February to 31 March.

San Francisco
Coinciding with the Arts of Pacific Asia fair, Sandra Whitman will hold an exhibition `Symbols of Power, Tiger Designs in Chinese and Tibetan Rugs'. There will be examples dating from the Ming period to the 20th century; these include 18th century Chinese carpets made for temple use, and Tibetan khaden and tsuk druk with tiger designs. The pair to a Ming period tiger-ground dias cover with dragon decoration which they sold in 2006 will also be on display.

Tiger khaden Tibet, late 19th century/early 20th century Wool Length 114.3 cm, width 65 cm `Symbols of Power, Tiger Designs in Chinese and Tibetan Rugs' Sandra Whitman

For a comprehensive listing of exhibitions, seminars and conferences, complete with links, visit Orientations Asian arts events calendar.

These days auction records in Asia seem to have short shelf-lives. The rapidity with which records are written out could clearly be seen at the sales of modern and contemporary Asian art in Hong Kong this autumn. Although Sotheby's offered a small selection of 37 paintings by modern masters under the banner of `Chinese Contemporary Art I' on 9 October, records were set for Chinese oil painting and contemporary sculpture. The HK$34.84 million realized for Danshui by Chen Chengbo made up for more than a third of the sale total. Zhu Ming's monumental bronze Single Whip from the Taichi series sold to a US collector for HK$8.296 million. The sale raised a total of HK$82,212,004.
Christie's `20th Century Chinese Art' sale on 26 November was significantly larger. The HK$362,584,400 for 85 per cent of 180 lots was the highest total for the house's series of sales in Hong Kong this autumn. The HK$53.88 million paid by a telephone bidder for Xu Beihong's Slave and Lion made it the most expensive painting sold in Asia.
Zao Wou-ki's works were also popular, in particular Composition No. 8 - 1958. This was a transitional painting that showed the artist on the threshold of his signature lyrical abstract style. The painting went for a record HK$24.76 million. With a supportive audience for his work firmly rooted in his native Taiwan, Liao Chi-ch'un's work also scaled new levels. Spring Scene in the Garden, a well-published 1970 work, sold on the telephone for HK$19.16 million.
Taking a leaf from Warhol's book, Chinese artists and their audience have - intentionally or otherwise - engaged in the process of iconization, and evidently some are reaping its rewards. There were at least a dozen images of Mao in various media at Sotheby's `Chinese Contemporary Art II' sale on 9 October. But the appeal of culturally recognizable images has extended beyond the strident imagery associated with ideology. This can be seen in the phenomenal demand for Zhang Xiaogang's work. The HK$8.744 million which the well-published Big Family Series No. 15 fetched at Sothebys, set a record for the artist. But by the time Christie's `Asian Contemporary Art' sale was held on 26 November, Zhang's interpretation of another Chinese icon, Tiananmen Square, had set a new auction record for a contemporary Chinese oil painting at HK$18.04 million.

Tiananmen Square By Zhang Xiaogang (b. 1958), c. 1993 Oil on canvas Height 150 cm, width 188.5 cm Christie's `Asian Contemporary Art' sale, Hong Kong 26 November 2006, lot 353 Price: HK$18.04 million (estimate HK$2/3 million)

Other Chinese artists who have attracted an international following are Zeng Fanzhi and Yue Minjun. Like Zhang, they have styles that are easily distinguished. Portrait, a 2004 oil by Zeng fetched HK$2.36 million at Sotheby's against an estimate of HK$400/600,000. Yue Minjun's Kites, a 1993 painting notable for its illusionary perspective, raised HK$7.4 million at Christie's.
HK$40,539,600 was raised at Christie's `Modern and Contemporary Southeast Asian Art' sale on 26 November. Interest in Indonesian artist Handiwirman Sahputra's intriguingly composed paintings brought HK$102,000 for Sisi, a work from his Mental series. Pura Kembarn, Sanur, a 1972 Balinese scene by S. Sudjojono, set an auction record for the artist when it sold to an Asian collector for HK$3.704 million.
Sotheby's `Fine Chinese Paintings' sale on 7 October achieved a total of HK$117,122,837. It was extremely well attended, attracting almost 500 bidders. The spotlight at this sale was undoubtedly on sixty paintings from the Vermilion Pavilion which included works by Fu Baoshi, Xu Beihong and Zhang Daqian. The works belonged to husband-and-wife Fei Cheng-wu and Chang Chien-ying. All sold, realizing a total of HK$40,356,040. Two albums, Zodiac Animals by Xu Beihong and Landscape and Figures by Fu Baoshi, took top spots, selling to collectors for HK$5.496 million and HK$5.048 million, respectively. An area to watch would be artists from the post-1949 generation who continue to practise the traditional medium of ink-and-wash painting. The works of these younger artists have a sense of dimensionality and attention to detail that recalls the monumental landscape tradition but with a lightness and texture that is contemporary. Cover lot (748), an almost anatomical study of a Withered Trunk by Luo that was both representational and abstract at the same time, sold for HK$480,000.
Christie's three sales of Chinese painting on 27 November offered a wide range of work and the caution that has been seen in recent auctions also prevailed here. The sale of 70 per cent of the 209 lots at the `Fine Classical Chinese Paintings and Calligraphy' raised HK$44.002 million. The top lot, Flowers, Birds, Fish and Rocks by Bada Shanren, sold within estimate to a Taiwan collector for HK$9.08 million. The sleeper lot in this sale was Sitting in Solitude by the Mountain, a 1672 ink-and-light colour work by Wang Jian, the Orthodox School master. Competition from several bidders in the room raised the price to HK$1.56 million, more than ten times its lower estimate.
Two sales, `Fine Modern Chinese Paintings' and `The Pine Moon Studio Collection', brought in HK$121,191,200. Only nine of the 110 works from the Pine Moon collection did not find new owners. The consignor is, according to Christie's, from Asia and has been collecting for almost twenty years. Several fans did well: the value of Red Bamboo and Butterfly by Yu Fei'an was probably enhanced by its dedication to Shou Shigong, the expert seal-carver, calligrapher and connoisseur, whose works are much sought after but rarely seen. Competitive bidding pushed its price to HK$360,000.

Mountain Village By Zhang Daqian (1899-1983), 1979 Ink and colour on paper Height 63 cm, width 106.5 cm Christie's `Fine Modern Chinese Paintings' sale, Hong Kong, 27 November 2006, lot 962 Price: HK$4.6 million (estimate HK$2.5/3.5 million)

It was however works by Fu Baoshi that received the most attention. Strolling in the Mountains, a 1944 work published in the Chang Foundation catalogue, sold for HK$5.16 million, making it the top lot. Unusual works with good provenance coupled with reasonable estimates were attractive.

Three Chinese-art dealers with an accumulated 154 years of collecting opted to sell, with remarkable results, selections from their holdings in Hong Kong this autumn. Several records were broken as local collectors competed with the buying power of those from China and Taiwan.
London-based Jules Speelman had bought a gilt-bronze Shakyamuni in 1996, unaware that it still contained its original consecration scrolls and inscribed tablets. When he paid approximately FFr3 million for it in Paris he did not envision that ten years later it would sell for HK$116.6 million, breaking the record for a Chinese work of art. Speelman consigned this image along with fifteen others of equal quality to the house for a sale, `Visions of Enlightenment: The Speelman Collection of Important Early Ming Buddhist Bronzes' at Sotheby's on 7 October. The buyer, Cai Mingchao, the manager of Xiamen Harmony Art International Auction Company, who was acting for a group of buyers, triumphantly announced that he would have paid double and that it would be exhibited in a gallery or temple in Xiamen. Buddhist practioners accompanying Tarthang Tulku of the Nyingma Institute in Berkeley were actively bidding throughout - they were successful on five lots. All but one of the lots sold for a total of HK$324,343,998.

Shakyamuni China, Yongle period (1403-24) Gilt-bronze Height 72.5 cm Sotheby's `Visions of Enlightenment: The Speelman Collection of Important Early Buddhist Bronzes' sale, Hong Kong, 7 October 2006, lot 808 Price: HK$116.6 million (estimate HK$60/80 million)

In `Classicism in Continuum: The Arts of the Ming' sale, Taiwan collector Robert Tsao was resolute in his quest for a tianhuang carving of a recumbent lion, a rare example of extant work by master-carver Yang Yuxuan. Tsao paid a record HK$39.32 million. With exceptional provenance was a Yongle blue-and-white jar and cover which had belonged to a French noble family since the 19th century. Xu Qiming, Chairman of Cixi Xulong Eel Industry in Zhejiang province, was able to secure it for HK$28.12 million.
It was clear that Sotheby's had focused all their attention on these two sales as their `Fine Chinese Ceramics & Works of Art' sale was not as successful - only 72 of the 171 lots offered sold for HK$101,513,602. The two top lots reflected current demand for Qing monochromes: a Qianlong celadon-glazed vase went to Mee-Seen Loong for HK$8.744 million; another celadon piece, but of the Yongzheng period, went to Giuseppe Eskenazi for HK$7.736 million.
Seven weeks later on 28 November the auctions rooms were filled to capacity once again at Christie's and records for a work of art at auction in Asia and for Qing ceramics were broken when Alice Cheng paid HK$151.32 million for a Qianlong period famille-rose bowl decorated with swallows in the `Jade Shears and Shimmering Feathers: Imperial Chinese Ceramics from the Robert Chang Collection' sale. The bowl had been acquired by Captain C. Oswald Liddell probably towards the end of his tour of duty in Beijing in 1913 and had subsequently been in the Barbara Hutton and J.T. Tai collections. Chang had acquired it at Sotheby's Hong Kong in May 1985 for HK$1.1 million. Cheng is the sister of the consignor and an established collector who had been a strong bidder at Chang's earlier sales at Christie's in November 1999 and November 2000. Despite scepticism, it is quite common for family members to bid at auctions, for example from estates, as confidentiality of reserves guarantees that they do not have an unfair advantage over other bidders. Cheng also has a record of philanthropy: she donated the Yongzheng vase bought for HK$41.5 million at Sotheby's Hong Kong in May 2002 to the Shanghai Museum.
The strength of monochromes was again evident in the HK$14.68 million paid by Daniel Eskenazi for a celadon double-gourd vase, also of the Qianlong period. A remarkable HK$266 million was realized and 95 per cent sold by value - an auspicious way for Chang to celebrate his 80th birthday.

Bowl China, Qianlong period (1736-95) Porcelain with famille-rose decoration Diameter 11.3 cm Christie's `Jade Shears and Shimmering Feathers: Imperial Chinese Ceramics from the Robert Chang Collection' sale, Hong Kong, 28 November 2006, lot 1309 Price: HK$151.32 million (estimate HK$60/80 million)

Next on the block was the New York-based `Important Chinese Jades from the Personal Collection of Alan and Simone Hartman'. Jade is a difficult field so it was an achievement to sell 70 per cent of the 103 lots, most above estimate, for a total of HK$116,051,999. Two records were set for white jade forms, both of the Qianlong period and going for HK$11.32 million. The first, a tall exquisitely carved libation cup with a date corresponding to 1777, is the only known example in jade and could possibly be a copy of Qianlong's favourite rhinoceros horn cup. The second lot, a vase with cover, is equally finely carved with symbols of longevity and thus appealing to Chinese and Western taste.
There were new buyers interested in lots estimated at HK$50/100,000 so quite a few went well in excess. For example, a Yuan period seal fetched HK$960,000 and London dealer Nader Rasti paid HK$1.02 million for a Qianlong small white rabbit group.
Christie's worked hard to market their `Important Chinese Ceramics and Works of Art' from various owners. A total of HK$158,701,200 was achieved. A record was set for Yuan blue-and-white when an Asian collector paid HK$14.68 million for an impressive charger decorated with fish and in excellent condition. Robert Tsao was very happy to secure a Yongle basin for HK$9.64 million. In good condition and representing a successful blending of Chinese design with an Islamic form, it had been exhibited at Eskenazi in 1994.
Both houses reported their highest ever totals for Chinese ceramics and works of art: Sotheby's achieved HK$571,705,599 and Christie's total was HK$540,753,199. The challenge for both houses is to collect the proceeds from these sales and to source authentic works for Spring 2007.

by Hwee Lie Bléhaut

This autumn saw three mixed sales at Hôtel Drouot. The first, organized by Neret-Minet on 14 October, offered a mixture of Western and Asian arts, and was a modest sale with a total of €193,585 for 383 lots. Of interest was an 18th century Swatow dish painted with an acquatic scene, which made €8,000 against an estimate of €3,800/4,000.
A small but interesting sale took place on 20 October at Piasa in Dijon which included five important Chinese objects. Four of these were obtained by a military officer around 1900 in Beijing and have remained in his family ever since. Three were seals of the Qianlong emperor. One of celadon and russet jade and cylindrical in shape, was engraved with four characters Taishang Huangdi, the title Qianlong assumed upon his abdication in 1796. The seal went for the enormous price of €740,000. The other two seals also sold well.
The `Arts d'Asie' section of the J.J. Mathias, Y.M. Le Roux, C. Morel, Baron Ribeyre & Associés sale took place on 15 November. A Yuan dynasty vase painted in an exceptionally deep and rich underglaze blue is unique on account of its decorative scheme, which is found on dishes, bowls and jars, but appears to be unknown on such pear-shaped vases. Cut down below the rim and mounted with a metal fitting, had been in a Turkish collection before being bought at auction in Cairo between 1947 and 1950 by the present consignor. Heated competition pushed its price to €1.8 million paid by London dealer Eskenazi.

Guang vessel China, Qianlong period (1736-95) Gilt-bronze with cloisonne decoration Height 39.5 cm J.J. Mathias, Y.M. Le Roux, C. Morel, Baron Ribeyre & Associés sale, Paris, 15 November 2006, lot 242 Price: €260,000 (estimate €150/250,000)

Beaussant Lefèvre's `Archéologie, Haute Epoque and Art d'Asie' sale on 21 November reached €356,085 for 420 lots offered. The top lot, achieving €25,000, was a magnificent Qianlong period seven-panel screen with river landscapes of gold leaf applied on black lacquer. This decorative technique was particularly popular on objects intended for tribute during Qianlong's reign.
Christie's `Art d'Asie' sale on 22 November achieved €2,456,580. A mainland collector secured the top lot, a large blue-and-white Wanli mark-and-period meiping, for €132,000, establishing a record price for this type of vessel. A dealer managed to obtain a Yongzheng mark-and-period Ru-type vase with a squat globular body for €98,400, more than tripling the estimate of €20/30,000. Outstanding among the Qing pieces was a rare Qianlong period blue-and-white moonflask with striking decoration of phoenixes and blossoms in iron red. Comparable flasks are known with a Qianlong mark, but since the base of the current example has been ground down, one cannot be sure if it originally had a mark. Yet, this did not deter a Chinese collector from paying €84,000 for it.
Rhinoceros horn, as expected, brought top prices. The highest bid of €86,400 for a 17th century archaistic libation cup with a handle in the shape of a mythical animal, was made by an Asian collector in the room. The other pieces were snapped up by French collectors.
Piasa's `Art d'Asie' sale on 24 November closed this round of Asian art sales. Specialist-in-charge Thierry Portier was reasonably satisfied with the total of €388,730 for 401 lots offered. There were several highlights, notably a painting of a galloping horse signed Xu Beihong, which was discovered in the owner's attic. It went to a European collector for €30,000.

by Meri Arichi

Asia Week in November is now a firmly established event in the London art world. The first auction of the week was Bonham's `Fine Asian Art' sale on 6 November; although well attended by buyers from East Asia, the bids were few and far between. A positive aspect of this sale was a sign of recovery in the Japanese art market, demonstrated by the good prices Meiji metalwork fetched. The highest price achieved in the Japanese section was £32,400 for a bronze and mixed metal tripod koro and cover.
Christie's `Fine Chinese Ceramics and Works of Art Including Export Art' sale on 7 November attracted spirited bidding in all categories, achieving the total of £4,886,700. The objects offered included some that were unusual and in good condition. A beautiful white jade baluster vase with cover from the Qianlong period invited fierce bidding and eventually sold for £78,000. The active bidding continued for the next section, where and all ten rhinoceros horn carvings found buyers. Several bidders competed for a rare ear cup that went for £120,000).
Ming gilt-bronze Buddhas that were much admired during the previews were hotly contested in the saleroom. A seated figure of meditating Buddha is one of few surviving examples that bear an inscription dating it to 1468. With its serene facial expression, the item fetched £187,200.
The mid-range porcelains including Ming blue-and-white, struggled to find buyers, confirming the selective trend of this market. The crowning glory of the sale came with the last lot, an impressive pair of large ormolu-mounted famille-rose armorial carp tureens from the Qianlong period. They were formerly in the collection of a relation of the Spanish royal family. The carp, lying on their side with head and tail curled upwards are rare; only one other pair of this size has been published. Competition raised the final price to £624,000.

A pair of `carp' tureens China, Qianlong period (1736-95) Porcelain with famille-rose decoration Length 47.6 cm Christie's `Fine Chinese Ceramics and Works of Art Including Export Art' sale, London, 7 November 2006, lot 277 Price: £624,000 (estimate £200/300,000)

At Sotheby's `Fine Chinese Ceramics and Works of Art' sale on the morning of 8 November, the grand total came to £3,516,160. The highlight of the sale was a collection of Song ceramics; the star lot was undoubtedly the superb Longquan kinuta vase which came from the collection of well-known Japanese tea connoisseur and collector Masuda Donno. New York-based London dealer John Berwald paid £1.184 million, the highest price realized for any lot at the Asian art auctions in London this season. Buddhist art performed well, with a fine pair of Ming gilded red-lacquer Buddhas, possibly Shakyamuni and Prabhutaratna, fetching £90,000.
Results for Sotheby's `Chinese Ceramics and Works of Art' sale in the afternoon were similar to the morning sale with less than half of the 400 lots finding buyers. A pair of gilt-lacquer seated bodhisattvas from the Ming dynasty fetched £15,600. The grand total was £894,780.
Christie's `Japanese Art and Design' sale on 8 November included fine lacquer works de-accessioned from the Museum of Fine Arts, Boston to benefit the acquisition fund. They came mostly from the museum's early collection formed by the generosity of benefactors such as William Sturgis Bigelow. One of the better examples from the Bigelow collection was a suzuribako attributed to Igarashi Doho I. Its cover is delicately decorated with autumn grass and flowers in gold, silver and shell inlay, employing a variety of sophisticated lacquer techniques. It fetched £12,000.
The recent interest in Asian contemporary painting in the West was reflected in the price of two small mixed media on paper works; My Hart and `D' Flower each sold for £11,400. The total achieved was £963,024.
Sotheby's `Japanese Works of Art, Prints and Paintings' on 9 November produced very good results, with the grand total of £1,657,140. Pictorial art did particularly well, with ukiyo-e prints by old favourites like Hokusai, Utamaro and Sharaku occupying eight of the top ten places. A print of Red Fuji by Hokusai sold for £84,000. Another well-known image from the same series, The Great Wave achieved £60,000. The sale included a collection of works by Kawase Hasui, best known for his evocative landscape prints. The highlight was a stunningly beautiful two-fold screen depicting a coastal landscape; keen interest from both Japanese and Western buyers pushed the final price to £62,400, a world record price for a work by the artist.

by Michael Hatch

China Guardian's autumn auctions ran from 22 to 24 November at the Beijing Kerry Center Hotel. Bidding was calmer than past auctions, a sign of a maturing group of mainland buyers who knew to wait for what they wanted. At the `The Jue Cha Xuan Collection of Fine Ming and Qing Paintings and Calligraphy' sale on 22 November, 75 per cent of the works from a noted Hong Kong collection sold for a total of RMB26.901 million. The top lot, Watching the Waterfall in Cloudy Ravines by Wen Zhengming, went for RMB2.255 million. Even more successful was the `The Shi Sun Zhai Collection of Fine Chinese Calligraphy', where all of the 50 lots sold, most well beyond their estimates, garnering RMB14.695 million. The highest price was the RMB1.43 million an American bidder paid for Wang Jihuan's Eulogy in Running Script by Dong Qichang.
The `Classical Paintings and Calligraphy' sale on the same day achieved respectable results, with a total of RMB54.808 million. The surprise lot was Painting Accompanied by Calligraphy by Dong Qichang, an album which sold for RMB5.5 million.
Also on 22 November, the more figural `Oil Paintings and Sculptures' sale was separated from the historically themed `20 Years of Contemporary Chinese Art'. Although the first sale took RMB57.375 million, it lacked heavy buying interest with only 61.7 per cent of the lots selling. The top lot, Men of Kangba by Chen Danqing, sold for RMB3.52 million. Efforts appeared more focused in the second sale, which in the end made a similar total of RMB57.413 million. The cover lot, Dialogue, a 1989 installation by Xiao Lu, sold just within its lower estimate for RMB2.31 million.
The sales on 23 November started with `Modern and Contemporary Paintings and Calligraphy I' and `Modern and Contemporary Paintings and Calligraphy II'. The results - a RMB13.784 million total for the first session, and RMB74.324 million for the second - were average. Folding fans from the collection of Sun Daguang sold extremely well, with the majority of lots achieving near to ten times their low estimates. One of these, In the Mountains Reciting the Ancients by Fu Baoshi, made RMB836,000.
The sale of `Nine Masterworks from the Jing Guan Ju Collection of Modern Paintings' came next; with everything selling for a total of RMB29.832 million, it was the highlight of the Guardian auctions. All but two lots exceeded estimates, and only two went for a hammer price under RMB1 million. The jewel in the crown was the last and the smallest of the works: Li Keran's dense crimson Danxia Mountains came down to two bidders by RMB4 million, and from there crept slowly up to the final price of RMB7.48 million.

Painting Accompanied by Calligraphy By Dong Qichang (1555-1636), 1613 Album of twenty leaves, ink on paper Height 29.4 cm, width 22.6 cm China Guardian's `Classical Paintings and Calligraphy' sale, Beijing, 22 November 2006, lot 551 Price: RMB5.5 million (estimate RMB400/500,000)

Also on the same day, the sale of `Fine Contemporary Paintings' was conspicuously divided in the middle by a selection of `experimental' ink paintings among, by definition, the less avant-garde or traditionalist ink-and-wash works, though only about two-thirds of them sold. Jia Youfu's traditional painting Bringing the Qin to Play in Myriad Mountains sold at RMB2.42 million, whereas Wenda Gu's Lost Dynasty Series No.1, an abstracted, murky exploration of the origins of language and writing, sold just above its lower estimate at RMB440,000.
The modest selection at the `Porcelain, Works of Art and Jewellery' sale on 22 November achieved a total of RMB43.784 million. A massive and densely carved rosewood floral screen which was made for use in the Qing palace during the Qianlong period took top lot at RMB6.38 million, selling to a hotel magnate from Beijing.
`The Cun Ren Tang Collection of Porcelain and Works of Art' which followed made a total of RMB15.667 million. Heavy bidding raised the price of a red lacquer chrysanthemum-shaped box and cover with its paper-thin walls and gold Qianlong inscription to RMB5.5 million. A blue-and-white zun fetched RMB1.87 million (lot 1817; estimate 0.8/1.2 million).

by Margaret Tao

Keeping pace with current trends, Bonhams & Butterfields San Francisco included contemporary material in their `Fine Asian Works of Art' sale on 20 November 2006. Four Chinese oil paintings accounted for 27 per cent of the US$3,183,623 total achieved for 5 per cent of the 375 lots offered. One persistent Chinese bidder in the room challenged several on the telephone to win: Great Solidarity by Yue Minjun for US$309,750; Amnesia and Memory and Baby No. 19, both from Zhang Xiaogang's acclaimed Bloodline Series for US$205,250 and US$172,250, respectively; and Zeng Fanzhi's Mask Series No. 14 for US$183,250. The selectivity that has characterized recent Chinese ink-painting sales was also seen here - only works by more established artists such as Qi Baishi and Zhang Daqian did well.
In the Chinese works of art section, a carved and polychromed ivory figure of a beauty sold for US$53,775. The Japanese section of the sale was successful. The highlight was a large Edo period bronze figure of Amitabha bearing an dedicatory inscription on its back and dated to 1680. As it had been weathered by the elements, the image had a conservative estimate of US$40/60,000. Competition from several collectors on the telephone resulted in it going for US$172,250.

Great Solidarity By Yue Minjun (b. 1962) Oil on Canvas Height 192.4 cm, width 200 cm Bonham's and Butterfields' `Fine Asian Works of Art' sale, San Francisco, 20 November 2006, lot 6145 Price: US$309,750 (estimate US$80/120,000)

by Jane C. Ju, Associate Professor at the Department of History, National Chengchi University, Wenshan, Taipei.

Ju shares some thoughts on the newly remodelled National Palace Museum and its new directions. She talks about the museum in personal terms, in the manner of a congratulatory toast to a cultural institution she reveres. Ju has had a long history with the institution, from first visiting it as a teenager to the present day where she uses it and its contents in her classes. Ju gives a frank and personal opinion of the changes to the museum as part of its recent modernization.

The three Buddhas, East Wing, National Palace Museum, Taipei