Famarte Gallery 2026

Relief depicting the Jain goddess Chakreshwari

Seated Medicine Buddha

Collection of buffalo bells

A marble figure of the reclining Buddha

An alabaster Buddha under the Bodhi Tree

Outstanding seated Monk Moggalanna in devotional posture

Seated Crowned Buddha

Cremation urns

Lime betel containers

Terracotta scale models of grain silos

Two figures of Sariputta and Moggallana

Head of Buddha

Small Head of a Bodhisattva

Exceptional life-size wooden Horse head

Temple offering vessel

Important relief with Revanta

Female figure as Yogini

A miniature shikhara guarded by a pair of makaras and attendants

Bodhisattva, most probably Avalokitesvara

Ritual Conch Shell (Shankha)

Two figures as incarnations of Vishnu

Two Temple struts (tunalas)

Important head of Buddha

Hand of Buddha in the bhumisparsha mudra

Two rare figures of Sariputta and Moggallana

Iron Ga’u or Portable shrine

Pluie d’or

Petit Frère

La Traversée

La Couette

Le Guet

Derrière l’Etoffe

Le Coup de Vent

Memory Journey

Peacefull Cherry

Ruby flowers and golden sky

Beyond the Living

Radiant Buddha head

Relief depicting the Jain goddess Chakreshwari

  • Northwest India, Gujarat or Rajasthan
  • Circa 18th century
  • Marble with traces of gilding and polychrome
  • H28.5xW22.5xD6cm
  • Provenance: German private collection, assembled between 1960-1995
The rectangular relief carved in high relief depicts the Jain goddess Chakreshwari, riding her vehicle Garuda, the crowned peacock. She is the guardian goddess or Yakshini of Rishabhanatha, the first Tirthankara (spiritual teacher) of Jainism. According to Jains, tirthankaras are the supreme preachers of dharma, who have conquered saṃsāra on their own and made a path for others to follow. Saṃsāra is the eternal repetition of cycles of birth, death and rebirth caused by karma in Hinduism, Jainism and Buddhism. Chakreshwari is considered a guardian deity who safeguards the teachings of Rishabhanatha and she helps his followers in their spiritual journey.

Seated Medicine Buddha

  • Burma (Myanmar)
  • 18th century
  • Bronze with a chocolate-brown patina
  • H35xW17cm
Provenance: Belgian private collection
This finely cast bronze image depicts the Medicine Buddha, Bhaisajyaguru, seated in meditation on a double-lotus pedestal.
 

Collection of buffalo bells

  • Burma, Shan states
  • 19th century
  • Cast bronze, sometimes with copper or iron clappers
  • Lost wax technique, trapezoidal or dome-shaped
  • H: 8-9.5cm, L: 6-11.5cm

This collection comprises a group of buffalo bells originating from the Shan States of Burma; the suspension loops were designed to accommodate leather or rope harnesses. The design of the bells is clearly recognizable at the stylized motifs of rice stalks with grains, sugar palms and floral patterns, symbolizing abundance and protection.

A marble figure of the reclining Buddha

  • Burma (Myanmar)
  • Circa 1850, Mandalay period
  • Marble with coloured glass inlay, traces of red and black pigments, gilding
  • L65xD14cm
  • Provenance: Private Dutch collection, acquired at Ashwood Gallery Bangkok in 2003
This medium-sized reclining Buddha comes from Mandalay, Northern Burma. It shows the Buddha lying on his right side, backed by a pillow, with his hand supporting his head. His clothes are gracefully draped around the body. 

An alabaster Buddha under the Bodhi Tree

  • Burma (Myanmar)
  • Ava period, 18th-19th century
  • Alabaster with remains of pigment and natural patina
  • H18cm
  • Provenance: Private German collection

This charming sculpture shows the historical Buddha, seated in bhumisparsha mudra, beneath the Bodhi Tree. This tree, according to Buddhist tradition, is the specific sacred fig under which the Buddha sat when he attained Enlightenment at Bodh Gaya in Bihar, India

Outstanding seated Monk Moggalanna in devotional posture

  • Burma (Myanmar)
  • Mandalay Period, 19th Century
  • Bronze with traces of gilding and lacquer
  • H77xW53cm
  • Provenance: Private Belgian collection
This impressive bronze sculpture represents Moggallana, one of the two foremost disciples of the Buddha, together with Sariputta. He is seated in the posture of reverence, with both knees bent to one side and hands gracefully resting upon the thighs. The pose conveys humility and calm devotion, emblematic of the deeply monastic character of Burmese Buddhist art during the 19th century.
 

Seated Crowned Buddha

  • Burma (Myanmar)
  • Arakan period, 17th century
  • Bronze
  • H31 x 17.5 cm
This finely cast bronze Buddha from 17th-century Arakan is seated in vajrāsana, the posture of meditation. The Buddha’s right hand is extended in the gesture of bhūmisparśa mudrā, while the left hand gently holds a small offering bowl. In his right hand he grasps a myrobalan fruit, long associated with the Buddha as a “universal healer.” it expresses his ability to cure not only physical pain, but also the deeper suffering of existence. His serene facial expression, with downcast eyes and softly arched brows, reflects profound inner calm.

Cremation urns

  • Cambodia
  • 19th century
  • Carved wood with red and black lacquer, gilded with gold leaf in relief, and glass beads
  • H32-52cm
Each cremation urn with separate lid and base has a tall spire, inspired by the design of a miniature Thai stupa (chedi). These urns were used to hold the ashes of the deceased monks, royalty or members of wealthy families. 

Lime betel containers

  • Cambodia
  • Khmer, 12th-13th century, Angkor Period
  • Cast bronze, with traces of white lime inside
  • H13-16.5cm
These small bronze vessels with a base and a stupa-like lid, were used to store lime for betel chewing, a widespread social practice across Southeast Asia. The finials recall Buddhist stupas and the Khmer temple architecture. 

Terracotta scale models of grain silos

  • China
  • Han dynasty, 3thcentury BC- 3thcentury AD
  • Terracotta with aged surface patina
  • H27xW13cm
  • Private Belgian collection
Scale models of grain silos come in various forms, the original constructions were likely made of wood. The rings around the model suggest iron bands that reinforced the structure.
 

Two figures of Sariputta and Moggallana

  • China
  • Qing dynasty, 18th-19th century
  • Gilt copper alloy
  • H 9,2cm
  • Provenance: Collection from the late Belgian collector Robert Willocx (1932-2023), acquired from Marcel Nies, Antwerp, 19th April 2000
This delightful pair of monks represents Sariputta and Moggallana, the Buddha’s two chief disciples. They are always shown as a pair flanking the Buddha, with the Buddha in the centre.

Head of Buddha

  • Ancient region of Gandhara
  • 4thcentury, Gandhara period
  • Stucco with traces of pigment and earth encrustation 
  • H27cm
  • Provenance: Swedish private collection
This exquisitely modelled head represents the Buddha, sculpted in stucco. The contours of his nose are tapering into sharp arched brows framing half-closed eyes and the urna (tuft of hair between the eyes), symbol of his divine wisdom. His wavy hair is gracefully tied in a perfect topknot or ushnisha (cranial protuberance), a sign of his enlightenment.  The Buddha’s elongated earlobes recall his origin as a prince. The inner calm and complacency are visible in the smile of his soft lips.

Small Head of a Bodhisattva

  • Pakistan, Ancient region of Gandhara 
  • 2nd-3thcentury, Gandhara period
  • Schist
  • H12cm
  • Provenance: Important South German private collection since the 1950s
 Carved in fine grey schist, this refined head of a Bodhisattva embodies the characteristic elegance of Gandharan sculpture with perfectly balanced proportions.

Exceptional life-size wooden Horse head

  • South India or Sri Lanka
  • 19th century (after 1850)
  • L90 x W33 x D26 cm
  • Provenance: Private French collection
In Tamil Nadu, South India, and Sri Lanka, this type of life-size horse head was traditionally mounted on the front of ceremonial carts (ratha) dedicated to Aiyanar, a local guardian god. Or the head was sculped as part of a larger statue of a horse that carried Aiyanar. The horse represented the gods’ mounts and symbolised strength, speed and protection.

Temple offering vessel

  • India, Rajasthan
  • 19th century
  • Brass
  • W24xL24,5xD15,5cm
  • Provenance: Private collection London
This large cast oval-shaped vessel with a hinged cover was designed to hold offerings for the ceremony in the temple. The offerings could be either for the deities or for the temple staff and priests. The cover is in the form of an almost life-sized version of the head of a local Rajasthan hero or ruler with divine characteristics.
 

Important relief with Revanta

  • Bihar, Northeastern India
  • Pala period, 11th century
  • Black basalt
  • W61xH43 cm
  • Art Loss Register Certificate: S 00021601
  • Provenance: Private collection Canada, Collection Marcel Nies, Antwerp, 2009-2014
  • Published: The Future Buddha, the cultural heritage of Asia, Marcel Nies Oriental art, Antwerpen, 2009, p.30-31.
This finely carved basalt relief represents Revanta, the divine hunter and son of the solar deity Surya, a figure venerated particularly in eastern India during the Pala period (8th–12th century). The composition is divided into two horizontal registers, the upper one depicting a dynamic equestrian scene and the lower one showing a rhythmic procession of attendants.

Female figure as Yogini

  • North India
  • 10th -11th century
  • Sandstone
  • H102 cm
  • Provenance: With Claude de Marteau, Brussels, by 1970’s
This almost life-size upright goddess with four arms is an outstanding example of the celebrated representation of the feminine beauty in Indian art. She stands in tribhanga (triple flexion) with weight on one leg and her body curving gracefully at the hip. She wears an elaborate necklace of stylized leaf buds with a central long tassel, a multistrand necklace and armbands. The ribbons and beaded swags are symmetrically arranged across her thighs. Her hair is piled up on her head and held in place by an ornamented crown.  She is backed by an elaborate openwork nimbus or aureole with floral pattern.  The headdress indicates her celestial or semi-divine nature. This female figure’s bodily form is voluptuous with a powerful expression.

A miniature shikhara guarded by a pair of makaras and attendants

  • India, Madhya Pradesh, probably Gwalior region
  • 10th-11th century
  • Sandstone
  • H41,5cm x W40cm x D21cm
  • Provenance: Collection Simon Ray 2008, Collection the late Bruno Cooper 2008-2012, thence by descent.
This sandstone architectural fragment depicts a miniature shikhara, richly carved with foliate ornamentation, symbolizing a North Indian temple tower. The pink glow in the sandstone suggests the region of Gwalior in the north of Madhya Pradesh as the place of origin.
A female attendant, possibly a river goddess or apsara, and a male musician emerge from the open mouth of a pair of makaras. The male figure, possibly a gandharva, with broader shoulders and detailed ornamentation is playing a musical instrument, while the beautifully adorned and near naked goddess or apsara is caught in fluid pose of devotion or dance.

Bodhisattva, most probably Avalokitesvara

  • Northeast India, region of Bihar
  • Pala period, 10th–11th century
  • Black basalt
  • H36xW29cm
  • Provenance: Acquired in the 1970s by M.G., then director of the Alliance Française in Cambodia
Finely carved in dense black basalt this bust portrays a youthful bodhisattva, most probably Avalokitesvara, with both hands before the chest in anjali- mudra, the gesture of reverence.  He gently holds a small cintāmaṇi, wish-granting jewel, between the palms. The face is softly rounded with downcast almond-shaped eyes, a subtle smile, and an urna on the forehead, hallmark of inner wisdom.

Ritual Conch Shell (Shankha)

  • Northern India
  • 19th century
  • Shell
  • L 16.5cm x W 9cm (weight: 555g)
  • Provenance: Private collection UK
This white conch shell is beautifully carved with a stylized lotus motif. This type of right-spiralling conch holds deep ritual significance in Hinduism, particularly in connection with the god Vishnu, for whom the conch symbolises the primordial sound of Om from which the universe was created. The preserver god is often portrayed holding a conch shell in his upper left hand. In general the conch is an important ritual implement in both Hindu and Buddhist tradition, as Vishnu’s attribute and as a ritual instrument in Tibetan Buddhism.

Two figures as incarnations of Vishnu

  • South India, possibly Tamil Nadu 
  • Late 18th - early 19th century
  • Jackwood, painted in vibrant natural pigments
  • H21.5cm-19.5cm
  • Provenance: Private collection UK 
The two wooden and polychrome figures depict Hayagriva (Kalki) and Narashima, the horse and lion avatars of the Hindu god Vishnu. They were likely part of a temple cart (ratha) used in processions. The modelling and use of color are indicative of South Indian craftsmanship.

Two Temple struts (tunalas)

  • Nepal
  • Late Malla period, circa 17th century
  • Wood with traces of polychrome
  • H81x16x10cm
  • H67x17x11cm
  • Provenance: Private collection New York acquired 1980’s
These two temple structures would have served as a strut supporting the overhanging roof In the Hindu temples of the Kathmandu region. The first strut may represent the crowned and bejewelled Hindu deity Vishnu, wearing the lotus bud and rosary, with a kneeling donor or ascetic below, sometimes interpreted as a yaksha. The second strut may represent Chamunda, one of the mother goddesses, who represents the universal creative force.

Important head of Buddha

  • Upper Central Thailand
  • Kamphaeng Phet style, 15th century
  • Bronze with tracing of gilding
  • H34xW16.5cm
  • Provenance: Formerly in a private French collection
This masterfully sculpted head of the Buddha originates from Kamphaeng Phet, a key provincial centre of the Sukhothai kingdom in 15th century Thailand.  The head displays the classic hallmarks of this period: a gentle oval face with downcast eyes in meditative position, eyebrows that form a continuous line above the bridge of the nose and a delicate smile, the so-called “Sukhothai smile”, that conveys inner peace and enlightenment.
 

Hand of Buddha in the bhumisparsha mudra

  • Thailand
  • Sukhothai period, 14th-15th century
  • Bronze
  • H18cm (without pedestal)
  • Provenance: Private Belgian collection
This hand is the right hand of Buddha, in the bhumisparsha mudra, the touching of the earth posture. The lower part of the hand shows the remains of the right leg of Buddha.

Two rare figures of Sariputta and Moggallana

  • Thailand
  • 1st half 19th century, early Rattanakosin period
  • Bronze, with remains of cold gilding
  • H43cm (each)
  • Provenance: Private collection from Art Asia Belgium since 2015
This pair of monks represents Sariputta and Moggallana, the Buddha’s two chief disciples. They once belonged to a set of five monks, including three standing monks, who probably have been placed all together in the same temple as part of a shrine.

Iron Ga’u or Portable shrine

  • Probably from Eastern Tibet, Kham province
  • 15thcentury
  • Iron
  • W12xH9xD4.6cm
  • Provenance: Private collection London
This amulet box made in iron, is rounded with a flattened base. The front is in the repoussé technique and chased in high relief with the image of Buddha seated in padmasana on a lotus throne. Underneath is a platform piled with several layers of textile decorated with floral motifs. The Buddha is holding a bowl in his left hand, which may refer to the Buddha of Healing and medicine (Bhaisajyaguru).

Pluie d’or

  • Eric Guéna
  • 2025
  • acrylic
  • 60x73cm
  • signed by the artist
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Petit Frère

  • Eric Guéna
  • 2023
  • acrylic
  • 90x90cm
  • signed by the artist
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La Traversée

  • Eric Guéna
  • 2024
  • acrylic
  • 65x54cm
  • signed by the artist
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La Couette

  • Eric Guéna
  • 2025
  • acrylic
  • 60x73cm
  • signed by the artist
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Le Guet

  • Eric Guéna
  • 2025
  • acrylic
  • 116x89cm
  • signed by the artist
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Derrière l’Etoffe

  • Eric Guéna
  • 2025
  • acrylic
  • 130x97cm
  • signed by the artist
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Le Coup de Vent

  • Eric Guéna
  • 2025
  • acrylic
  • 130x97cm
  • signed by the artist
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Memory Journey

  • Gae Won Jang
  • Winter
  • 2022
  • oil
  • 53x45.50cm
  • Signed by the artist
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Peacefull Cherry

  • Soe Soe
  • 2023
  • acrylic
  • painted with syringes
  • 122x122cm
  • signed by the artist
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Ruby flowers and golden sky

  • Soe Soe
  • 2022
  • acrylic
  • painted with syringes
  • 122x122cm
  • signed by the artist
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Beyond the Living

  • Zaw Zaw Co
  • 2020
  • acrylic
  • 91x122cm
  • Signed by the artist
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Radiant Buddha head

  • Northern Thailand
  • Early Lan Na period, 15th century
  • Bronze with green patina
  • H28cm
  • Provenance: acquired through the renowned collector Jean-Claude Moreau-Gobard, from whom it was sold in 1990
This Buddha head dates to the 15th century and belongs to the early Chiang Saen period of the Lanna Kingdom in northern Thailand.
During the Golden Age of Lanna, numerous workshops flourished throughout northern Thailand. Although these ateliers produced subtle stylistic variations, the iconography remained largely uniform. This head displays all the hallmarks of early Chiang Saen sculpture: the powerful and serene expression, the arched brow line, the finely modelled features and the tightly rendered hair texture. The elongated earlobes are particularly striking and beautifully executed; their fullness and graceful curvature reflect the refined aesthetic of the Lanna ateliers during this period. The full, elegantly rising flame finial is also remarkable.
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Famarte Gallery 2026
Famarte
Famarte is primarly focused on high quality sculpture and ritual objects from India, Southeast Asia, Nepal and Tibet. The gallery also represents several emerging and mid-career Asian contemporary artists.
Farah Massart is looking forward to welcome you in the gallery.  
  • give us a call: +32 495 289 100
  • or mail us: art@famarte.be
ArtWorks Antiques
China
two figures of sariputta and moggallana china qing dynasty, 18th-19th century gilt copper alloy h 9,2cm provenance: collection from the late belgian collector robert willocx (1932-2023), acquired from marcel nies, antwerp, 19th april 2000this delightful pair of monks represents sariputta and moggallana, the buddha’s two chief disciples. they are always shown as a pair flanking the buddha, with the buddha in the centre. Two figures of Sariputta and Moggallana terracotta scale models of grain silos china han dynasty, 3thcentury bc- 3thcentury ad terracotta with aged surface patina h27xw13cm private belgian collectionscale models of grain silos come in various forms, the original constructions were likely made of wood. the rings around the model suggest iron bands that reinforced the structure.   Terracotta scale models of grain silos
Tibet
iron ga’u or portable shrine probably from eastern tibet, kham province 15thcentury iron w12xh9xd4.6cm provenance: private collection londonthis amulet box made in iron, is rounded with a flattened base. the front is in the repoussé technique and chased in high relief with the image of buddha seated in padmasana on a lotus throne. underneath is a platform piled with several layers of textile decorated with floral motifs. the buddha is holding a bowl in his left hand, which may refer to the buddha of healing and medicine (bhaisajyaguru). Iron Ga’u or Portable shrine
Nepal
two temple struts (tunalas) Two Temple struts (tunalas)
Cambodia
cremation urns cambodia 19th century carved wood with red and black lacquer, gilded with gold leaf in relief, and glass beads h32-52cmeach cremation urn with separate lid and base has a tall spire, inspired by the design of a miniature thai stupa (chedi). these urns were used to hold the ashes of the deceased monks, royalty or members of wealthy families.  Cremation urns lime betel containers cambodia khmer, 12th-13th century, angkor period cast bronze, with traces of white lime inside h13-16.5cmthese small bronze vessels with a base and a stupa-like lid, were used to store lime for betel chewing, a widespread social practice across southeast asia. the finials recall buddhist stupas and the khmer temple architecture.  Lime betel containers
Gandhara
head of buddha ancient region of gandhara 4thcentury, gandhara period stucco with traces of pigment and earth encrustation  h27cm provenance: swedish private collectionthis exquisitely modelled head represents the buddha, sculpted in stucco. the contours of his nose are tapering into sharp arched brows framing half-closed eyes and the urna (tuft of hair between the eyes), symbol of his divine wisdom. his wavy hair is gracefully tied in a perfect topknot or ushnisha (cranial protuberance), a sign of his enlightenment.  the buddha’s elongated earlobes recall his origin as a prince. the inner calm and complacency are visible in the smile of his soft lips. Head of Buddha small head of a bodhisattva pakistan, ancient region of gandhara  2nd-3thcentury, gandhara period schist h12cm provenance: important south german private collection since the 1950s carved in fine grey schist, this refined head of a bodhisattva embodies the characteristic elegance of gandharan sculpture with perfectly balanced proportions. Small Head of a Bodhisattva
India
exceptional life-size wooden horse head south india or sri lanka 19th century (after 1850) l90 x w33 x d26 cm provenance: private french collectionin tamil nadu, south india, and sri lanka, this type of life-size horse head was traditionally mounted on the front of ceremonial carts (ratha) dedicated to aiyanar, a local guardian god. or the head was sculped as part of a larger statue of a horse that carried aiyanar. the horse represented the gods’ mounts and symbolised strength, speed and protection. Exceptional life-size wooden Horse head temple offering vessel india, rajasthan 19th century brass w24xl24,5xd15,5cm provenance: private collection londonthis large cast oval-shaped vessel with a hinged cover was designed to hold offerings for the ceremony in the temple. the offerings could be either for the deities or for the temple staff and priests. the cover is in the form of an almost life-sized version of the head of a local rajasthan hero or ruler with divine characteristics.   Temple offering vessel important relief with revanta bihar, northeastern india pala period, 11th century black basalt w61xh43 cm art loss register certificate: s 00021601 provenance: private collection canada, collection marcel nies, antwerp, 2009-2014 published: the future buddha, the cultural heritage of asia, marcel nies oriental art, antwerpen, 2009, p.30-31.this finely carved basalt relief represents revanta, the divine hunter and son of the solar deity surya, a figure venerated particularly in eastern india during the pala period (8th–12th century). the composition is divided into two horizontal registers, the upper one depicting a dynamic equestrian scene and the lower one showing a rhythmic procession of attendants. Important relief with Revanta female figure as yogini north india 10th -11th century sandstone h102 cm provenance: with claude de marteau, brussels, by 1970’sthis almost life-size upright goddess with four arms is an outstanding example of the celebrated representation of the feminine beauty in indian art. she stands in tribhanga (triple flexion) with weight on one leg and her body curving gracefully at the hip. she wears an elaborate necklace of stylized leaf buds with a central long tassel, a multistrand necklace and armbands. the ribbons and beaded swags are symmetrically arranged across her thighs. her hair is piled up on her head and held in place by an ornamented crown.  she is backed by an elaborate openwork nimbus or aureole with floral pattern.  the headdress indicates her celestial or semi-divine nature. this female figure’s bodily form is voluptuous with a powerful expression. Female figure as Yogini a miniature shikhara guarded by a pair of makaras and attendants india, madhya pradesh, probably gwalior region 10th-11th century sandstone h41,5cm x w40cm x d21cm provenance: collection simon ray 2008, collection the late bruno cooper 2008-2012, thence by descent.this sandstone architectural fragment depicts a miniature shikhara, richly carved with foliate ornamentation, symbolizing a north indian temple tower. the pink glow in the sandstone suggests the region of gwalior in the north of madhya pradesh as the place of origin. a female attendant, possibly a river goddess or apsara, and a male musician emerge from the open mouth of a pair of makaras. the male figure, possibly a gandharva, with broader shoulders and detailed ornamentation is playing a musical instrument, while the beautifully adorned and near naked goddess or apsara is caught in fluid pose of devotion or dance. A miniature shikhara guarded by a pair of makaras and attendants bodhisattva, most probably avalokitesvara northeast india, region of bihar pala period, 10th–11th century black basalt h36xw29cm provenance: acquired in the 1970s by m.g., then director of the alliance française in cambodiafinely carved in dense black basalt this bust portrays a youthful bodhisattva, most probably avalokitesvara, with both hands before the chest in anjali- mudra, the gesture of reverence.  he gently holds a small cintāmaṇi, wish-granting jewel, between the palms. the face is softly rounded with downcast almond-shaped eyes, a subtle smile, and an urna on the forehead, hallmark of inner wisdom. Bodhisattva, most probably Avalokitesvara ritual conch shell (shankha) northern india 19th century shell l 16.5cm x w 9cm (weight: 555g) provenance: private collection ukthis white conch shell is beautifully carved with a stylized lotus motif. this type of right-spiralling conch holds deep ritual significance in hinduism, particularly in connection with the god vishnu, for whom the conch symbolises the primordial sound of om from which the universe was created. the preserver god is often portrayed holding a conch shell in his upper left hand. in general the conch is an important ritual implement in both hindu and buddhist tradition, as vishnu’s attribute and as a ritual instrument in tibetan buddhism. Ritual Conch Shell (Shankha) relief depicting the jain goddess chakreshwari northwest india, gujarat or rajasthan circa 18th century marble with traces of gilding and polychrome h28.5xw22.5xd6cm provenance: german private collection, assembled between 1960-1995the rectangular relief carved in high relief depicts the jain goddess chakreshwari, riding her vehicle garuda, the crowned peacock. she is the guardian goddess or yakshini of rishabhanatha, the first tirthankara (spiritual teacher) of jainism. according to jains, tirthankaras are the supreme preachers of dharma, who have conquered saṃsāra on their own and made a path for others to follow. saṃsāra is the eternal repetition of cycles of birth, death and rebirth caused by karma in hinduism, jainism and buddhism. chakreshwari is considered a guardian deity who safeguards the teachings of rishabhanatha and she helps his followers in their spiritual journey. Relief depicting the Jain goddess Chakreshwari two figures as incarnations of vishnu south india, possibly tamil nadu  late 18th - early 19th century jackwood, painted in vibrant natural pigments h21.5cm-19.5cm provenance: private collection uk the two wooden and polychrome figures depict hayagriva (kalki) and narashima, the horse and lion avatars of the hindu god vishnu. they were likely part of a temple cart (ratha) used in processions. the modelling and use of color are indicative of south indian craftsmanship. Two figures as incarnations of Vishnu
Myanmar (Burma)
collection of buffalo bells burma, shan states 19th century cast bronze, sometimes with copper or iron clappers lost wax technique, trapezoidal or dome-shaped h: 8-9.5cm, l: 6-11.5cmthis collection comprises a group of buffalo bells originating from the shan states of burma; the suspension loops were designed to accommodate leather or rope harnesses. the design of the bells is clearly recognizable at the stylized motifs of rice stalks with grains, sugar palms and floral patterns, symbolizing abundance and protection. Collection of buffalo bells a marble figure of the reclining buddha burma (myanmar) circa 1850, mandalay period marble with coloured glass inlay, traces of red and black pigments, gilding l65xd14cm provenance: private dutch collection, acquired at ashwood gallery bangkok in 2003this medium-sized reclining buddha comes from mandalay, northern burma. it shows the buddha lying on his right side, backed by a pillow, with his hand supporting his head. his clothes are gracefully draped around the body.  A marble figure of the reclining Buddha an alabaster buddha under the bodhi tree burma (myanmar) ava period, 18th-19th century alabaster with remains of pigment and natural patina h18cm provenance: private german collectionthis charming sculpture shows the historical buddha, seated in bhumisparsha mudra, beneath the bodhi tree. this tree, according to buddhist tradition, is the specific sacred fig under which the buddha sat when he attained enlightenment at bodh gaya in bihar, india An alabaster Buddha under the Bodhi Tree outstanding seated monk moggalanna in devotional posture burma (myanmar) mandalay period, 19th century bronze with traces of gilding and lacquer h77xw53cm provenance: private belgian collectionthis impressive bronze sculpture represents moggallana, one of the two foremost disciples of the buddha, together with sariputta. he is seated in the posture of reverence, with both knees bent to one side and hands gracefully resting upon the thighs. the pose conveys humility and calm devotion, emblematic of the deeply monastic character of burmese buddhist art during the 19th century.   Outstanding seated Monk Moggalanna in devotional posture seated crowned buddha burma (myanmar) arakan period, 17th century bronze h31 x 17.5 cmthis finely cast bronze buddha from 17th-century arakan is seated in vajrāsana, the posture of meditation. the buddha’s right hand is extended in the gesture of bhūmisparśa mudrā, while the left hand gently holds a small offering bowl. in his right hand he grasps a myrobalan fruit, long associated with the buddha as a “universal healer.” it expresses his ability to cure not only physical pain, but also the deeper suffering of existence. his serene facial expression, with downcast eyes and softly arched brows, reflects profound inner calm. Seated Crowned Buddha seated medicine buddha burma (myanmar) 18th century bronze with a chocolate-brown patina h35xw17cmprovenance: belgian private collection this finely cast bronze image depicts the medicine buddha, bhaisajyaguru, seated in meditation on a double-lotus pedestal.   Seated Medicine Buddha
Thailand
important head of buddha upper central thailand kamphaeng phet style, 15th century bronze with tracing of gilding h34xw16.5cm provenance: formerly in a private french collectionthis masterfully sculpted head of the buddha originates from kamphaeng phet, a key provincial centre of the sukhothai kingdom in 15th century thailand.  the head displays the classic hallmarks of this period: a gentle oval face with downcast eyes in meditative position, eyebrows that form a continuous line above the bridge of the nose and a delicate smile, the so-called “sukhothai smile”, that conveys inner peace and enlightenment.   Important head of Buddha hand of buddha in the bhumisparsha mudra thailand sukhothai period, 14th-15th century bronze h18cm (without pedestal) provenance: private belgian collectionthis hand is the right hand of buddha, in the bhumisparsha mudra, the touching of the earth posture. the lower part of the hand shows the remains of the right leg of buddha. Hand of Buddha in the bhumisparsha mudra two rare figures of sariputta and moggallana thailand 1st half 19th century, early rattanakosin period bronze, with remains of cold gilding h43cm (each) provenance: private collection from art asia belgium since 2015this pair of monks represents sariputta and moggallana, the buddha’s two chief disciples. they once belonged to a set of five monks, including three standing monks, who probably have been placed all together in the same temple as part of a shrine. Two rare figures of Sariputta and Moggallana radiant buddha head northern thailand early lan na period, 15th century bronze with green patina h28cm provenance: acquired through the renowned collector jean-claude moreau-gobard, from whom it was sold in 1990this buddha head dates to the 15th century and belongs to the early chiang saen period of the lanna kingdom in northern thailand. during the golden age of lanna, numerous workshops flourished throughout northern thailand. although these ateliers produced subtle stylistic variations, the iconography remained largely uniform. this head displays all the hallmarks of early chiang saen sculpture: the powerful and serene expression, the arched brow line, the finely modelled features and the tightly rendered hair texture. the elongated earlobes are particularly striking and beautifully executed; their fullness and graceful curvature reflect the refined aesthetic of the lanna ateliers during this period. the full, elegantly rising flame finial is also remarkable. Radiant Buddha head
Artworks Contemporary
Eric Guéna
pluie d’or eric guéna 2025 acrylic 60x73cm signed by the artistsee other paintings and meet the artist... Pluie d’or petit frère eric guéna 2023 acrylic 90x90cm signed by the artistsee other paintings and meet the artist... Petit Frère la traversée eric guéna 2024 acrylic 65x54cm signed by the artistsee other paintings and meet the artist... La Traversée la couette eric guéna 2025 acrylic 60x73cm signed by the artistsee other paintings and meet the artist... La Couette le guet eric guéna 2025 acrylic 116x89cm signed by the artistsee other paintings and meet the artist...   Le Guet derrière l’etoffe eric guéna 2025 acrylic 130x97cm signed by the artistsee other paintings and meet the artist... Derrière l’Etoffe le coup de vent eric guéna 2025 acrylic 130x97cm signed by the artistsee other paintings and meet the artist... Le Coup de Vent
Soe Soe
peacefull cherry soe soe 2023 acrylic painted with syringes 122x122cm signed by the artistsee other paintings and meet the artist... Peacefull Cherry ruby flowers and golden sky soe soe 2022 acrylic painted with syringes 122x122cm signed by the artistsee other paintings and meet the artist... Ruby flowers and golden sky
Zaw Zaw Co
beyond the living zaw zaw co 2020 acrylic 91x122cm signed by the artistmeet the artist... Beyond the Living
Gae Won Jang
memory journey gae won jang winter 2022 oil 53x45.50cm signed by the artistmeet the artist... Memory Journey
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