Stone relief with Revanta

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC8192-scaled.jpg)India, Bihar Pala Period, 11th C AD Black basalt L 61 x H 43 cm Provenance: Private collection Canada Collection Gallery Marcel Nies, 2009-2014This relief depicts Revanta hunting, seated on a horseback, preceded and followed by Danda and Pingala. He wears a dhoti and a girdle and has high boots similar to those of his father Surya. Revanta was a very popular figure in Bihar during the Pala period, as several stone representations have been found. By the 10th Century in East India and Gujarat Revanta became the patron deity of horse traders, warriors and horses, and is thought to protect everyone against the dangers of the forest, which may explain his increasing popularity. This relief was probably placed in a niche on the external wall of a temple dedicated to the sun god Surya. 

Standing Buddha with his hands crossed

[CLICK FOR DETAILED PHOTO...](https://3dwalk.be/wp-content/uploads/2021/05/DSC8125-scaled.jpg)Thailand 17th Century Gilt lacquered wood H121cm Published: in A.Bassoul, Human and Divine-The Hindu and Buddhist Iconography of Southeast Asian art from the Claire and Aziz Bassoul Collection, Beirut, 2006, p.248, figure 98.Standing Buddha on a circular pedestal wearing a long flowing monastic robe, his half closed eyes inlaid, his hair arranged in small curls topped by a flame. The mudra with his hands crossed at the wrists refers to the “Contemplating of the Bodhi tree” pose; it commemorates the time Buddha spent with simply looking at the tree under which he had attained enlightenment.  

An impressive Ayutthaya Buddha head

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC9872-scaled.jpg) Thailand 16th Century, Auytthaya period Copper alloy with traces of lacquer and gilding H32cm Provenance : Private Collection Richard and Sabine de G. from Lausanne-SwitzerlandA bronze head of Buddha in Ayutthaya style, 16 -17th Century in a rich brown patina and with some traces of gilding. Superbly cast and gracefully delineated with the oval-shaped face in serene expression, the lips sensitively modeled in a subtle smile, the chin highlighted by a small delicate line, the downcast eyes deeply recessed beneath arched brows connected in a perfect curved line. The ears have flaring lobes at the upper and lower tips. The hair is tightly curled in deep relief.  

Crowned Jambhupati Buddha

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC6506-scaled.jpg) Burma 19th Century Laquered gilded wood with a nice dark chocolate-brown patina H82 x W34 x D25cm Provenance: Compagnie de la Chine et des Indes ParisThis Buddha is seated in bhumisparsa mudra on a very decorative base and wearing an elaborate winged crown with a distinctive cone on top. This is a typical element of the Burmese Buddha probably based on the Indian headdress ribbons that were cast on the Indian Hindu bronze images. The Buddha in his royal attire wears a necklace falling down to the chest, thick earplugs and bracelets around the arms.  

Seated praying monk

[CLICK FOR DETAILED PHOTO..](https://3dwalk.be/wp-content/uploads/2021/05/DSC8149-scaled.jpg).Burma 19th century, Mandalay period Gilt lacquer wood H48xW27xD34cm  

Small head of Buddha

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC9927-scaled.jpg) Thailand Ayutthaya period, 17 th Century Gilded bronze with a nice green patina H 13cm Provenance: Private collection Richard and Sabine de G.from Lausanne, SwitzerlandHis face has a serene expression with arched eyebrows above inlaid eyes, aquiline nose, smiling lips, elongated pointed earlobes, accentuated chin, curled hairdress and a long flamed usnisha. Typical for the Auytthaya period is the small line carved above the upper lip and below the eyes.

Relief with Maitreya, surrounded by devotees

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC3046-scaled.jpg) Ancient Gandhara region 3-4th Century Schist L60xH30cm Provenance: Old Collection Dr.R.R. from Zumikon, SwitzerlandThis relief represents the Bodhisattva Maitreya, the Future Buddha, identified by the water vessel (kalasa) in his left hand, and the “no fear” gesture with his raised right hand in abhaya mudra. Maitreya is surrounded by a group of devotees that worship him.This relief is a perfect illustration of the fusion of cultures, so typical to the art of Gandhara, with a mix of Indian, Greco-Roman and Central Asian influences.  

Fireflower tree

Sum Som Vang (Cambodia) Oil painting on canvas (3D) W73 x H33 cm (framed) This young Cambodian artist explores the nature in all its glory. For him the nature has a double meaning, nature can be polluted and threatened, but can also be a spiritual or sacred resource.

In the Rain (3)

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/In-the-Rain-3-92x122cm--scaled.jpg) Soe Soe (Myanmar) Acrylic 92x122cm Signed[Meet the artist...](https://3dwalk.be/wp-content/uploads/2021/05/Meet-the-artist-Soe-Soe.pdf)

Golden terrace and Ruby blossom

[CLICK FOR DETAILED PHOTO...](https://3dwalk.be/wp-content/uploads/2021/05/soe-soe-laputta-122x122cm-Golden-terrace-and-ruby-blossom.jpg)Soe Soe (Myanmar) Acrylic 122x122cm Signed[Meet the artist...](https://3dwalk.be/wp-content/uploads/2021/05/Meet-the-artist-Soe-Soe.pdf)  

A pair of standing monks in copper alloy

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/455c455c_medium.jpg) Thailand 17th Century, Ayutthaya period Copper alloy with traces of lacquer and gilding H 22-22,5 cm Provenance : Private Collection Richard and Sabine de G.from Lausanne, SwitzerlandThe two monks are standing with their hands in anjali mudra. Their faces evoke an expression of great serenity and compassion.  

Seated Buddha in padmasana

[ CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC9964-scaled.jpg) Burma 18 th Century, late Ava period Alabaster with traces of brown lacquer, gilding H80xW46cmThe Buddha with extremely sweet expression is seated in padmasana with his right hand lowered in bhumisparsa mudra and the left resting in his lap. The pleats of his robe are suggestively rendered by geometric lines and a heart shape figure. The pedestal is very finely carved and decorated with a row of pearls.  

Red glory

Sum Som Vang (Cambodia) Oil painting on canvas (3D) W53xH43 cm (framed) Signed This young Cambodian artist explores the nature in all its glory. For him the nature has a double meaning, nature can be polluted and threatened, but can also be a spiritual or sacred resource.

Vessel in the shape of a three-headed elephant

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC3056-scaled.jpg) Thailand Sukhothai period, 14th C AD (dated by test) Olive-green glazed celadon H 22 cm TL-Analysis (Laboratory R.Kotalla) no. 03090907 dated 11.09.2007This is an exemple of olive-green glazed celadon with animal design and elaborate figures, executed with a lot of detail. The elephant with 3 heads could refer to the mythical elephant Airavata or the so called Erawan in Thailand, carrying three drivers. The ear hole is presumably to allow the hot air to escape during the firing. The content of the receptacle could have been of a sacred nature.  

Seated Buddha

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC9679-scaled.jpg) Thailand Sukhothai period, 15 th Century, probably from Kamphaeng Phet Gilded bronze with some green encrustations H 22cmThis Buddha seated on a plain pedestal is rendered in the Kampaeng Phet style, with suble differences from the neighboring Sukhothai region. The flame finial is meticulously composed by three layers, the elegant fingers are elongated, the snail-like curls are clear and the fishtail hem above the navel is short.  

A pair of Dong Son bells

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC9864-scaled.jpg) Cambodia Dong Son period, ca 300 BCE-300 CE Cast bronze with earthen deposit H9 x W8 cmThe bells, found in pairs, were used to decorate animal harnesses, probably water buffalos, and to warn of their approach. The decoration of the stylized buffalo heads with horns and the coiled ropes and spirals are typical features of the Dong Son culture. The buffalo head is a common symbol of agricultural wealth and virility.  

Bon Voyage

[CLICK FOR DETAILED PHOTO...](https://3dwalk.be/wp-content/uploads/2021/05/1-BON-VOYAGE-2020-81x100cm-4000E-scaled.jpg)Bon voyageEric Guéna (France)Acrylic with pigments 81x100cm Signed[Meet the artist...](https://3dwalk.be/wp-content/uploads/2021/05/Meet-the-artist-Eric-Guena.pdf)

Architectural frieze with Amitabha from Pala period

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC3006-scaled.jpg) North-East India, Bihar 11-12th Century, Pala period Black basalt H 36 x W41.5 cm Provenance : Private German collectionThis meditating Buddha with pointed tiara holding an alms bowl is likely the Amitabha Buddha in the form of the Medicine Buddha, such as Bhaisajyaguru. A smaller seated figure of Buddha is seated above him, with both hands in dharmacakramudra and placed in an arched stupa niche, with the top bordered by a row of pearls. This architectural relief had been part of a Buddhist monument like a stupa or a monastery.  

Shan style alabaster head of Buddha

[CLICK FOR DETAILED PHOTO...](https://3dwalk.be/wp-content/uploads/2021/05/DSC8171-scaled.jpg)Burma Shan period, 18-19th Century Alabaster, red lacquer, gilding, glass inlay H 35cm/46cm Provenance: From the collection of Jesper Trier 1932-2017Buddha’s face is carved with a benevolent expression. The chignon is rising to a very refined bulbous lotus knob; the curled hair, headdress and pendulous earlobes are lacquered in red, gilt and covered with glass stones.

A l'écoute

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC8195-scaled.jpg) Ming Tong (China) Terracotta with gold pigment H 46.5 x L 28 x D 28cm Signed[Meet the artist...](https://3dwalk.be/wp-content/uploads/2021/05/Meet-the-artist-Ming-Tong.pdf)

Relief of the meditating Buddha

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC3008-scaled.jpg) Ancient Gandhara region 3-4th Century Schist L 43 x H 31cmFinely carved relief with the meditating Buddha with his hands resting in his lap, clad in a sanghati drapped over his both shoulders with his folds forming large concentric curves.The Buddha is slightly bending forward with his head. Two attendants are symmetrically kneeling in devotion at both sides of the Buddha, the two hands in anjali mudra, wearing a turban, earrings and necklace. At each side of the relief the remains of a stylised Greek column are still visible.  

A buffalo leather Jingasa

[CLICK FOR DETAILED PHOTO (outer side)...](https://3dwalk.be/wp-content/uploads/2021/05/DSC3115-scaled.jpg) and [inner side](https://3dwalk.be/wp-content/uploads/2021/05/DSC3116-1-scaled.jpg)Japan Mid of Edo period Wood covered with buffalo leather Diam.35cmJingasa (Samurai hat) with mon in copper (crest used to identify a family clan in Japan). Wood covered with buffalo leather. The inside is bright red lacquered with gilded crests in repetition.  

Khmer figure of a female deity

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC8168-scaled.jpg) Cambodia Angkor Vat period, 12th Century Hard grey sandstone H 53,5 cm Tested by Ciram, dd 03/04/2013, n° 0313-OA-71R-1 Provenance: Asian-African Museum GenevaThis standing female deity is a classic example of Angkor Vat-style sculpture, produced during the 12thC. She has a very aristocratic face with a slight smile, full sensuous lips, open incised eyes and ridged brows. She is wearing a long pleated sampot folded over at the waist and the lower edge of the central pleat opens into a rimmed fish-tail at the front, typical of the Angkor Vat style. The sampot is secured by a ornamented belt with pendants, hidden beneath the drapery fold in front, but clearly visible on the back. She is fully adorned with armlets, a multi-strand necklace which follows the form of the breasts, and bud shaped earrings. The finely carved diadem is tied at the back and surmounted by a conical chignon cover.  

A miniature Shikhara from India

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC8190-scaled.jpg) India, Madhya Pradesh, probably Gwalior region 10-11th Century Buff sandstone H 41,5 cm x W40 cm x D21 cmProvenance: Collection Simon Ray 2008 Collection The Late Bruno Cooper Thence By DescentThis beautiful shrine represents a tower with a high curved shape called Shikhara, typical of Northern India. It was probably located above a niche on a temple façade. This architectural fragment exhibits great symmetry: guarded by a pair of makaras (benevolent aquatic monsters) with a musician and dancing goddess issuing from their mouths.  

Mukhalinga with the face of Shiva

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC9946-scaled.jpg) Cambodia Pre-Angkor period, 7th/8th century Sandstone H 44cm The Linga with square base, octagonal mid-section and cylindrcial top represents a phallus, the immaterial form of the supreme deity Shiva. The face of Shiva with a slight smile is carved in relief, the chest with the square shoulders clearly delineated. The elongated ears are adorned with earrings. His high coiffure is rising to a pronounced conical ridge that recedes into the linga. The flaring bulbous shape is very naturalistic. Lingas with faces, usually only one, seem to have been popular only during the Pre-Angkor period. In the following Angkor period the more abstract form without a face was preferred.The focus of worship in a Khmer Shiva temple was the linga. Great political and spiritual significance was attached to the linga. Some linga were embedded into a circular base, called the yoni; they symbolize the union of the two complimentary poles, the male and female.

Important Lan Na head of Buddha

[CLICK FOR DETAILED PHOTO... ](https://3dwalk.be/wp-content/uploads/2021/05/DSC5410-scaled.jpg) Thailand Lan Na, Chieng Saen, 15th Century Bronze, cast in the lost wax method H33 cm Provenance: Private collection Mr and Mrs. J.Meijer, The Netherlands, 1988, before Galerie de Ruimte 1985This masterfully cast head reveals a perfect symmetrical volume with the eyes lowered beneath arching brows and his mouth curving in a gentle smile. The large pronounced curls cover his head and ushnisha that symbolizes his wisdom. The Lan Na stylistic characteristics are clearly recognizable by the lips delineated with a fine contour line, the incised chin and the pointed open earlobes. The Buddha is portrayed as an approachable human being, and at the same time extremely serene in expression.  

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ArtWorks Antiques
Cambodia
mukhalinga with the face of shiva [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc9946-scaled.jpg) cambodia pre-angkor period, 7th/8th century sandstone h 44cm the linga with square base, octagonal mid-section and cylindrcial top represents a phallus, the immaterial form of the supreme deity shiva. the face of shiva with a slight smile is carved in relief, the chest with the square shoulders clearly delineated. the elongated ears are adorned with earrings. his high coiffure is rising to a pronounced conical ridge that recedes into the linga. the flaring bulbous shape is very naturalistic. lingas with faces, usually only one, seem to have been popular only during the pre-angkor period. in the following angkor period the more abstract form without a face was preferred.the focus of worship in a khmer shiva temple was the linga. great political and spiritual significance was attached to the linga. some linga were embedded into a circular base, called the yoni; they symbolize the union of the two complimentary poles, the male and female. Mukhalinga with the face of Shiva a pair of dong son bells [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc9864-scaled.jpg) cambodia dong son period, ca 300 bce-300 ce cast bronze with earthen deposit h9 x w8 cmthe bells, found in pairs, were used to decorate animal harnesses, probably water buffalos, and to warn of their approach. the decoration of the stylized buffalo heads with horns and the coiled ropes and spirals are typical features of the dong son culture. the buffalo head is a common symbol of agricultural wealth and virility.   A pair of Dong Son bells khmer figure of a female deity [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc8168-scaled.jpg) cambodia angkor vat period, 12th century hard grey sandstone h 53,5 cm tested by ciram, dd 03/04/2013, n° 0313-oa-71r-1 provenance: asian-african museum genevathis standing female deity is a classic example of angkor vat-style sculpture, produced during the 12thc. she has a very aristocratic face with a slight smile, full sensuous lips, open incised eyes and ridged brows. she is wearing a long pleated sampot folded over at the waist and the lower edge of the central pleat opens into a rimmed fish-tail at the front, typical of the angkor vat style. the sampot is secured by a ornamented belt with pendants, hidden beneath the drapery fold in front, but clearly visible on the back. she is fully adorned with armlets, a multi-strand necklace which follows the form of the breasts, and bud shaped earrings. the finely carved diadem is tied at the back and surmounted by a conical chignon cover.   Khmer figure of a female deity
Gandhara
relief of the meditating buddha [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc3008-scaled.jpg) ancient gandhara region 3-4th century schist l 43 x h 31cmfinely carved relief with the meditating buddha with his hands resting in his lap, clad in a sanghati drapped over his both shoulders with his folds forming large concentric curves.the buddha is slightly bending forward with his head. two attendants are symmetrically kneeling in devotion at both sides of the buddha, the two hands in anjali mudra, wearing a turban, earrings and necklace. at each side of the relief the remains of a stylised greek column are still visible.   Relief of the meditating Buddha relief with maitreya, surrounded by devotees [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc3046-scaled.jpg) ancient gandhara region 3-4th century schist l60xh30cm provenance: old collection dr.r.r. from zumikon, switzerlandthis relief represents the bodhisattva maitreya, the future buddha, identified by the water vessel (kalasa) in his left hand, and the “no fear” gesture with his raised right hand in abhaya mudra. maitreya is surrounded by a group of devotees that worship him.this relief is a perfect illustration of the fusion of cultures, so typical to the art of gandhara, with a mix of indian, greco-roman and central asian influences.   Relief with Maitreya, surrounded by devotees
India
stone relief with revanta click for detailed photo...india, bihar pala period, 11th c ad black basalt l 61 x h 43 cm provenance: private collection canada collection gallery marcel nies, 2009-2014this relief depicts revanta hunting, seated on a horseback, preceded and followed by danda and pingala. he wears a dhoti and a girdle and has high boots similar to those of his father surya. revanta was a very popular figure in bihar during the pala period, as several stone representations have been found. by the 10th century in east india and gujarat revanta became the patron deity of horse traders, warriors and horses, and is thought to protect everyone against the dangers of the forest, which may explain his increasing popularity. this relief was probably placed in a niche on the external wall of a temple dedicated to the sun god surya.  Stone relief with Revanta a miniature shikhara from india [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc8190-scaled.jpg) india, madhya pradesh, probably gwalior region 10-11th century buff sandstone h 41,5 cm x w40 cm x d21 cmprovenance: collection simon ray 2008 collection the late bruno cooper thence by descentthis beautiful shrine represents a tower with a high curved shape called shikhara, typical of northern india. it was probably located above a niche on a temple façade. this architectural fragment exhibits great symmetry: guarded by a pair of makaras (benevolent aquatic monsters) with a musician and dancing goddess issuing from their mouths.   A miniature Shikhara from India architectural frieze with amitabha from pala period [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc3006-scaled.jpg) north-east india, bihar 11-12th century, pala period black basalt h 36 x w41.5 cm provenance : private german collectionthis meditating buddha with pointed tiara holding an alms bowl is likely the amitabha buddha in the form of the medicine buddha, such as bhaisajyaguru. a smaller seated figure of buddha is seated above him, with both hands in dharmacakramudra and placed in an arched stupa niche, with the top bordered by a row of pearls. this architectural relief had been part of a buddhist monument like a stupa or a monastery.   Architectural frieze with Amitabha from Pala period
Japan
a buffalo leather jingasa click for detailed photo (outer side)... and inner sidejapan mid of edo period wood covered with buffalo leather diam.35cmjingasa (samurai hat) with mon in copper (crest used to identify a family clan in japan). wood covered with buffalo leather. the inside is bright red lacquered with gilded crests in repetition.   A buffalo leather Jingasa
Myanmar (Burma)
crowned jambhupati buddha [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc6506-scaled.jpg) burma 19th century laquered gilded wood with a nice dark chocolate-brown patina h82 x w34 x d25cm provenance: compagnie de la chine et des indes paristhis buddha is seated in bhumisparsa mudra on a very decorative base and wearing an elaborate winged crown with a distinctive cone on top. this is a typical element of the burmese buddha probably based on the indian headdress ribbons that were cast on the indian hindu bronze images. the buddha in his royal attire wears a necklace falling down to the chest, thick earplugs and bracelets around the arms.   Crowned Jambhupati Buddha shan style alabaster head of buddha click for detailed photo...burma shan period, 18-19th century alabaster, red lacquer, gilding, glass inlay h 35cm/46cm provenance: from the collection of jesper trier 1932-2017buddha’s face is carved with a benevolent expression. the chignon is rising to a very refined bulbous lotus knob; the curled hair, headdress and pendulous earlobes are lacquered in red, gilt and covered with glass stones. Shan style alabaster head of Buddha seated praying monk click for detailed photo...burma 19th century, mandalay period gilt lacquer wood h48xw27xd34cm   Seated praying monk seated buddha in padmasana [ click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc9964-scaled.jpg) burma 18 th century, late ava period alabaster with traces of brown lacquer, gilding h80xw46cmthe buddha with extremely sweet expression is seated in padmasana with his right hand lowered in bhumisparsa mudra and the left resting in his lap. the pleats of his robe are suggestively rendered by geometric lines and a heart shape figure. the pedestal is very finely carved and decorated with a row of pearls.   Seated Buddha in padmasana
Thailand
small head of buddha [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc9927-scaled.jpg) thailand ayutthaya period, 17 th century gilded bronze with a nice green patina h 13cm provenance: private collection richard and sabine de g.from lausanne, switzerlandhis face has a serene expression with arched eyebrows above inlaid eyes, aquiline nose, smiling lips, elongated pointed earlobes, accentuated chin, curled hairdress and a long flamed usnisha. typical for the auytthaya period is the small line carved above the upper lip and below the eyes. Small head of Buddha seated buddha [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc9679-scaled.jpg) thailand sukhothai period, 15 th century, probably from kamphaeng phet gilded bronze with some green encrustations h 22cmthis buddha seated on a plain pedestal is rendered in the kampaeng phet style, with suble differences from the neighboring sukhothai region. the flame finial is meticulously composed by three layers, the elegant fingers are elongated, the snail-like curls are clear and the fishtail hem above the navel is short.   Seated Buddha important lan na head of buddha [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc5410-scaled.jpg) thailand lan na, chieng saen, 15th century bronze, cast in the lost wax method h33 cm provenance: private collection mr and mrs. j.meijer, the netherlands, 1988, before galerie de ruimte 1985this masterfully cast head reveals a perfect symmetrical volume with the eyes lowered beneath arching brows and his mouth curving in a gentle smile. the large pronounced curls cover his head and ushnisha that symbolizes his wisdom. the lan na stylistic characteristics are clearly recognizable by the lips delineated with a fine contour line, the incised chin and the pointed open earlobes. the buddha is portrayed as an approachable human being, and at the same time extremely serene in expression.   Important Lan Na head of Buddha standing buddha with his hands crossed click for detailed photo...thailand 17th century gilt lacquered wood h121cm published: in a.bassoul, human and divine-the hindu and buddhist iconography of southeast asian art from the claire and aziz bassoul collection, beirut, 2006, p.248, figure 98.standing buddha on a circular pedestal wearing a long flowing monastic robe, his half closed eyes inlaid, his hair arranged in small curls topped by a flame. the mudra with his hands crossed at the wrists refers to the “contemplating of the bodhi tree” pose; it commemorates the time buddha spent with simply looking at the tree under which he had attained enlightenment.   Standing Buddha with his hands crossed a pair of standing monks in copper alloy [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/455c455c_medium.jpg) thailand 17th century, ayutthaya period copper alloy with traces of lacquer and gilding h 22-22,5 cm provenance : private collection richard and sabine de g.from lausanne, switzerlandthe two monks are standing with their hands in anjali mudra. their faces evoke an expression of great serenity and compassion.   A pair of standing monks in copper alloy an impressive ayutthaya buddha head [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc9872-scaled.jpg) thailand 16th century, auytthaya period copper alloy with traces of lacquer and gilding h32cm provenance : private collection richard and sabine de g. from lausanne-switzerlanda bronze head of buddha in ayutthaya style, 16 -17th century in a rich brown patina and with some traces of gilding. superbly cast and gracefully delineated with the oval-shaped face in serene expression, the lips sensitively modeled in a subtle smile, the chin highlighted by a small delicate line, the downcast eyes deeply recessed beneath arched brows connected in a perfect curved line. the ears have flaring lobes at the upper and lower tips. the hair is tightly curled in deep relief.   An impressive Ayutthaya Buddha head vessel in the shape of a three-headed elephant [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc3056-scaled.jpg) thailand sukhothai period, 14th c ad (dated by test) olive-green glazed celadon h 22 cm tl-analysis (laboratory r.kotalla) no. 03090907 dated 11.09.2007this is an exemple of olive-green glazed celadon with animal design and elaborate figures, executed with a lot of detail. the elephant with 3 heads could refer to the mythical elephant airavata or the so called erawan in thailand, carrying three drivers. the ear hole is presumably to allow the hot air to escape during the firing. the content of the receptacle could have been of a sacred nature.   Vessel in the shape of a three-headed elephant
Artworks Contemporary
Eric Guéna
bon voyage click for detailed photo...bon voyageeric guéna (france)acrylic with pigments 81x100cm signedmeet the artist... Bon Voyage
Ming Tong
a l'écoute [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/dsc8195-scaled.jpg) ming tong (china) terracotta with gold pigment h 46.5 x l 28 x d 28cm signedmeet the artist... A l'écoute
Soe Soe
golden terrace and ruby blossom click for detailed photo...soe soe (myanmar) acrylic 122x122cm signedmeet the artist...   Golden terrace and Ruby blossom in the rain (3) [click for detailed photo... ](https://3dwalk.be/wp-content/uploads/2021/05/in-the-rain-3-92x122cm--scaled.jpg) soe soe (myanmar) acrylic 92x122cm signedmeet the artist... In the Rain (3)
Sum Som Vang
fireflower tree sum som vang (cambodia) oil painting on canvas (3d) w73 x h33 cm (framed) this young cambodian artist explores the nature in all its glory. for him the nature has a double meaning, nature can be polluted and threatened, but can also be a spiritual or sacred resource. Fireflower tree red glory sum som vang (cambodia) oil painting on canvas (3d) w53xh43 cm (framed) signed this young cambodian artist explores the nature in all its glory. for him the nature has a double meaning, nature can be polluted and threatened, but can also be a spiritual or sacred resource. Red glory
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