Ancient Asian Sculpture Exhibition - John Eskenazi, New York

A remarkable terracotta head from the Gandharan region of a bearded and turbaned man will be one of the fine pieces of ancient Asian sculpture to be offered by John Eskenazi at his annual exhibition at Adam Williams Fine Art Ltd, 24 East 80^th Street, New York, from Monday 15 to Sunday 28 March 2010, coinciding with New York's Asia Week.  John Eskenazi, who is based in London, is one of the world's most respected dealers in Indian, Gandharan, Himalayan and South-east Asian works of art.

The unusual head, dating from the 4^th to 6^th century, comes from the Termez area on the border of Afghanistan and Southern Uzbekistan, an important trading centre on the Silk Road.  Buddhism had a history of evangelism and as it spread and encountered language differences the visual arts played an important part in promoting its message.  Local artists in regions such as Transoxiana drew on their own visual traditions when interpreting the scriptures.  It is assumed that this head comes from a Buddhist tableau, modelled in terracotta in the interior of a cave or temple such as those at present-day Nagaraha (Hadda) in Afghanistan, its size and quality suggesting a place of some importance.  Contemporary Chinese accounts of the people of this part of Uzbekistan describe men with deep-set eyes and thick beards as in this sculpture which is a human rather than divine portrait.  The facial appearance sheds light on a remote area where Buddhism absorbed elements of a distinct, and relatively unexplored, local culture.

A large and sensuous sandstone figure of a shalabhanjika (goddess), from the Mathura region of Northern India, dates from the Kushan period, 2^nd century.  According to ancient Indian legend, beautiful goddesses sometimes inhabit ashoka and mango trees, causing them to flower and bear fruit.  In the Shunga and Kushan periods when traditional beliefs became absorbed into Buddhism, these goddesses became an attractive element of sacred architecture, their seductive appearance on the railings surrounding stupas and other holy places intended both to lure the faithful towards the place and to create a sacred energy that would protect it.  In this figure, the voluptuous appearance and welcoming smile of the goddess are extremely natural.  Her hair is worn in a chignon adorned with an unusual fan-shaped headdress made of stiff ribbons and her body is enhanced by scarves and jewellery.  The realism of the sculpture continues in the canopy of gently swaying ashoka leaves above the goddess's head.  Curiously, the detail on her left side is unfinished, affording an unusual insight into the artist's method.

A carved stone relief of the elephant-headed Ganesha, the most popular of the Hindu deities, comes from Eastern India, Pala period, 10^th century.  Ganesha is associated with the fulfilment of wishes, new enterprises and the ability to remove obstacles.  Nevertheless, Ganesha's goodwill remains conditional and if he is not properly addressed, preferably with an accompanying offering of his favourite syrup-drenched sweets, he will create obstacles once more.  His statue and that of his brother Skanda often flank the doorway of a Shiva temple or stand in little shrines close by.  The two youthful gods must be honoured before the devotee steps over the threshold otherwise they will contrive to ensure that any prayers addressed to Shiva go unheard.

Eastern India was cosmopolitan and prosperous and this image is a superb example of the Pala style, the dramatic thrust of the highest left arm apparently directing the god towards the next step of his dance.  Real physical energy appears to be generated by the sculpture, enhanced by the two small musicians seated at the god's feet. 

From Western Tibet comes a late 15^th/early 16^th century serene bronze portrait of Lowo Khenchen Sonan Lhundrup (1456-1532), one of the principal theologians of the Sakya School.  The title Lowo refers to his place of origin (the kingdom of Mustang, now part of western Nepal) and Khenchen means ‘Great Monk'.  Sonan Lhundrup is a reference to the inspiration of his teaching and means ‘Spontaneous Realisation of Merit', that is the promise offered to those who immerse themselves in his words and example.  The image is profoundly realistic, indicating that the sculptor responsible may well have known Lowo Khenchen Sonam Lhundrup or had the opportunity to consult those who did.  His scholarly influence is reflected in the vitarkamudra (teaching gesture) in which he holds his raised right hand.  The sword and book resting in lotuses each side identify him as a reincarnation of the bodhisattva Manjushri, the defender of sacred knowledge who is also associated with spiritual awareness, the state one achieves through deep meditative study. 

John Eskenazi's exhibitions in New York attract collectors and museum curators drawn to the quality and aesthetic beauty of the pieces he offers.  John Eskenazi established his own London gallery in Mayfair in 1994, having originally joined the family business in 1977.  From 2006 he has been a private dealer, available to clients by appointment.  His expertise and scholarship in Indian and South-east Asian art are internationally recognised and his clients include major museums such as the Metropolitan Museum of Art in New York and the Victoria and Albert Museum in London as well as discerning private collectors.

Venue: John Eskenazi at Adam Williams Fine Art Ltd

            24 East 80^th Street, New York, NY 10075, USA

Information:    www.john-eskenazi.com,   tel. +44 (0)20 7409 3001

            www.adam-williams.com,  tel. +1 212 249 4987

Opening hours: Daily 10 am to 6 pm