Arts of Asia

Arts of Asia The world’s leading fine magazine of Asian art and antiques since 1970. www.artsofasia.com

Published in Hong Kong and distributed worldwide, Arts of Asia has been delighting collectors and connoisseurs of Asian art for over fifty years. Every issue is an authoritative source of information on the many and varied aspects of the arts of East Asia, the Indian Subcontinent and Southeast Asia and provides invaluable insights into the international Asian art market, analyzing activities at ma

jor auctions in London, New York, Hong Kong, Beijing and other centres to reveal the latest price and collecting trends. Arts of Asia is unique in its presentation and is itself a collector's item, with the quality of its content matched by the excellence of its design and production. Perfect-bound with a strong laminated cover, it is renowned for its superb full-colour reproductions. Arts of Asia is a magazine that you will enjoy at your leisure, and that you will keep to read and refer to, again and again.

Majapahit Empire (1293–1527) marked a significant fusion of Indian religious traditions with indigenous Indonesian artis...
29/12/2025

Majapahit Empire (1293–1527) marked a significant fusion of Indian religious traditions with indigenous Indonesian artistry, resulting in a unique cultural and artistic expression. These bronze implements are not merely decorative but are profound reflections of a society where religion, magic and daily life were deeply intertwined, representing a vibrant, syncretic culture that creatively adapted foreign influences to express its own unique worldview.
The era produced a wide array of bronze ritual items, each with specific symbolic meanings and functions. Key amongst these are the vajra (thunderbolt) and ghanta (bell), used by priests to invoke deities and purify spaces. Other important objects include ornate receptacles for holy water (amrita), which was central to purification rites, and bronze slit-drums used for ceremonial communication.
Oil-lamps and incense-burners served as offerings and to create a sacred atmosphere, whilst mirrors symbolised divine insight and were used for self-realisation. Even seemingly mundane items like animal figures on wheels had ritualistic purposes, often serving as symbolic vehicles for gods or in ceremonies for fertility and protection.
To further explore the diverse bronze objects from this period, read the full article "Bronze Ritual Implements in the Majapahit Period: Meaning and Function” by Nandana Chutiwongs, featured in the November-December 2000 issue of Arts of Asia, available at artsofasia.com/back-issue
Pictured:
1) Holy water vessel with cover Bronze Height 18 cm Private collection
2) Hanging lamp with panakawan Bronze Height 13.9 cm Private collection

Despite significant Indian cultural and religious influences that shaped Southeast Asian civilisation, Khmer jewellery c...
22/12/2025

Despite significant Indian cultural and religious influences that shaped Southeast Asian civilisation, Khmer jewellery cultivated a distinctive identity through exceptional craftsmanship and refined design. Our comprehension of this sophisticated art form derives principally from its meticulous depiction in stone sculptures, temple bas-reliefs and historical chronicles, including those of the erudite 13 century Chinese traveller Chou Ta-Kuan.
Within Khmer society, jewellery functioned as an eloquent symbol of status and divine authority. Royalty embraced the Indian conception of the bejewelled Buddha to elevate their station to that of a living deity, thereby establishing the devaraja (god-king) doctrine that epitomised Khmer kingship. Fashioned from gold and embellished with pearls and semi-precious stones through sophisticated techniques such as casting and repoussé, these treasures served as crucial visual records of the civilisation's growing prosperity and refined aesthetic sensibility.
The evolution of these sacred adornments can be traced through distinct historical periods. The Pre-Angkor period (1st to 8th century) is renowned for producing jewellery of unparalleled intricacy, with excavations at sites like Oc-eo unearthing gold beads, rings and pendants of a fineness that later periods arguably did not surpass. Subsequently, the early Angkor period reveals a distinct Javanese influence—a consequence of historical conquests in the late 8th century. This is evidenced by the assimilation of Indonesian motifs in artefacts, such as gold diadems decorated with flame patterns, which are illustrated in the vast bas-reliefs at major temples like Angkor Wat and the Bayon.
Read Theresa McCullough's full article, "Gold Jewellery: Pre-Angkor and Angkor Civilisations of Cambodia" for more insights, in the March-April 2000 issue of Arts of Asia, available at artsofasia.com/back-issue.
Pictured: A gold cast and chased diadem, set with Rubies and a rock crystal, and topped by five flame motifs, Pre-Khmer, Ta Keo region, late8th/early 9th century. Diameter 8 cm. Courtesy of Danart, London

In the 18th and 19th centuries, a fascinating cultural dialogue unfolded through Chinese export paintings. Created by Ch...
18/12/2025

In the 18th and 19th centuries, a fascinating cultural dialogue unfolded through Chinese export paintings. Created by Chinese artists for a Western clientele, these works reveal a compelling intersection of Eastern artistic integrity and Western commercial tastes. Driven by burgeoning trade routes, the West craved an exotic, romanticised vision of China, resulting in artworks that were often a hybrid of authentic depiction and imaginative embellishment. This demand for exoticism, however, rarely led to a genuine understanding of “real China”, as the images were often tailored to Western expectations. A prime example is the recurring motif of the emperor—an exotic and rarely seen figure who became a popular subject in works like “The Emperor’s Audience in the Imperial Garden” from the 1780s to the 1830s.
This focus on isolated, exotic subjects stood in stark contrast to the foundational principles of traditional Chinese art, which prioritises a holistic, narrative-driven approach. As William Shang explores in his article, "Export Art and Perceptions: Cultural and Aesthetic Differences", Chinese artists traditionally employ a flatter, more contextual perspective to illustrate the intricate relationships between subjects and their environment, reflecting a cultural emphasis on community. For instance, “Landscape with Ploughman” depicts not just a man at work but a complete social environment, using symbolic elements and relational groupings like family to weave a story. This tendency to group subjects relationally, such as mother and child, directly opposes the Western artistic tradition, which historically uses linear perspective to isolate subjects and achieve a focused, singular realism.
Read the full article in the Arts of Asia March–April 2013 issue at artsofasia.com/back-issue
Pictured:
1) "Emperor's Audience in the Imperial Garden" Chinese artist, oil on canvas, late 18th century 74.9 x 111.7 cm. Hong Kong Museum of Art
2) "Landscape with Ploughman", Chinese artist, oil on canvas, circa 1820, 64.7 x 106.6 cm. Martyn Gregory Gallery

The establishment of the Qing imperial glassworks in 1696, founded under Emperor Kangxi’s imperial order and directed by...
15/12/2025

The establishment of the Qing imperial glassworks in 1696, founded under Emperor Kangxi’s imperial order and directed by the German Jesuit missionary Kilian Stumpf, heralded a new chapter in Chinese art. The early works, a fusion of Western technology and Chinese design principles, were foundational, often inspired by ancient bronze forms despite some initial crudeness in craftsmanship. Over time, the glasswork evolved into distinct styles, including elegant globular vases, European-influenced faceted designs and other varied shapes that drew from traditional Chinese aesthetics. Open forms like tripod censers and bowls from the Yongzheng period are celebrated for their refined shapes and pure colours.
Qing artisans mastered advanced techniques such as wheel-cutting and diamond-point engraving to create intricate, gilt-highlighted designs. The overlay method, which involved carving through coloured layers to a contrasting core, produced complex relief patterns with auspicious symbolism. A key achievement was the skilful imitation of precious materials like jadeite, showcasing exceptional technical mastery. The Qianlong period is recognised as the pinnacle of this art form, producing pieces of outstanding beauty and quality. This era of glassmaking represents a remarkable fusion of innovation and deep-rooted cultural tradition.
For more insights, read the full article “Elegance and Radiance: Grandeur in Qing Glass, The Andrew K.F. Lee Collection” by Humphrey K.H. Hui, featured in the March-April 2001 issue of Arts of Asia, available at artsofasia.com/back-issue
Pictured: Double vase in red overlay on trans parent glass, the twin-baluster body tapers to a waisted foot and supports on a thick oval base with the overlaid mouth in twin circular form. Carved through the red overlay at the neck with a band of cicada pendants and chilong, followed by a round of stylised lotus motif and bats. Similarly decorated on the obverse with alternate confronted archaistic dragon and phoenix above a band of stylised dragon scrolls and classic scrolls and a band of cicada and key-fret pattern around the base. Oianlong mark and period, height 25.3 cm

Born in Ha D**g, Vietnam, Le Pho was amongst the first students at the Ecole des Beaux-Arts of Indochina in Hanoi. This ...
11/12/2025

Born in Ha D**g, Vietnam, Le Pho was amongst the first students at the Ecole des Beaux-Arts of Indochina in Hanoi. This institution, founded by Victor Tardieu, provided him with a classical French art education, blending Western techniques with traditional Vietnamese art forms.
Le Pho's move to France marked a significant evolution in his artistic style. Whilst he initially painted on traditional Vietnamese silk, his work increasingly incorporated the palettes and techniques of European modernism. From the 1950s, his paintings adopted a lighter, more impressionistic quality, often depicting serene domestic scenes, floral still lives and idyllic landscapes.
Influenced by artists such as Henri Matisse and Pierre Bonnard, Le Pho's career was marked by numerous exhibitions and a strong following amongst collectors. He maintained close ties with other Vietnamese artists in France, such as Mai Thu and Vu Cao Dam. Le Pho's legacy is that of an artist who masterfully synthesised Eastern and Western artistic traditions, creating an unique and enduring body of work.
Authored by Nguyen Thi Lan Huong and George Belcher, this narrative traces Le Pho's artistic evolution from his formative years in Vietnam to his flourishing career in France.
To read the full article on this celebrated Vietnamese Post-Impressionist master in the Arts of Asia, September–October 2009 issue, at artsofasia.com/back-issue.
Pictured:
1) Harmony in Green: The Two Sisters 1938, oil on silk, 54 x 45 cm Collection: The Singapore Art Museum, Singapore
2) Young Girl Picking Flowers Oil on silk, 57.4 x 42.4 cm Private Collection: Courtesy of Christie's, Singapore and Hong Kong

Sara Kuehn's article, "Towards the Dragon and the Mythical Bird", examines the distinct iconography of the Khitan–Liao d...
08/12/2025

Sara Kuehn's article, "Towards the Dragon and the Mythical Bird", examines the distinct iconography of the Khitan–Liao dynasty (907–1125). It posits that the Khitan, a nomadic people who governed northern China, cultivated an unique artistic style that was a creative amalgamation of their nomadic traditions and adopted sedentary customs, rather than a simple imitation of Chinese art.
The article concentrates on two primary motifs: the dragon and the mythical bird. The Khitan dragon, characterised by its lupine features, is traced back to earlier nomadic groups like the Xiongnu and Xianbei, symbolising power and a connection to the spiritual world. The mythical bird, frequently depicted with the dragon, signifies sovereignty and divine favour.
Khitan art serves as a testament to their dual identity. Through the masterful blending of their nomadic visual vocabulary with Chinese artistic elements, the Khitan forged a potent iconography that not only legitimised their authority but also articulated their intricate cultural standing at the intersection of the nomadic steppes and the established civilisation of China. This synthesis produced an unique and powerful artistic tradition that reflected their complex heritage and reflected the complex cultural identity of the Khitan people.
Read the full article in Arts of Asia September–October 2006 issue at artsofasia.com/back-issue
Pictured: Gold and turquoise headdress with bird finial, Late Warring States, 3rd century BC. Height 7.1 cm, diameter 16.5 cm. Excavated at Aluchaideng, Yiketsao League, Ordos, 1972. Museum of Inner Mongolia, Hohhot. After Genghis Khan: Ancient Nomadic Culture of the Northern China, Beijing, 2004, pp. 70f

Adriana Williams’s article chronicles the profound journey of Miguel Covarrubias, the 20th century Mexican polymath, who...
04/12/2025

Adriana Williams’s article chronicles the profound journey of Miguel Covarrubias, the 20th century Mexican polymath, whose artistic and scholarly pursuits led him from the frenetic pace of New York to the contemplative serenity of Bali. Wearied by the demands of the West, Covarrubias and his wife, Rose Rolanda, embarked on a journey that culminated in a deep, transformative immersion in Balinese culture, a world he perceived as an unspoilt ‘‘paradise’’.
Driven by a deep-seated curiosity, Covarrubias eschewed the role of a mere observer, choosing instead to live among the people of Sayan. He was captivated by the Balinese people's innate artistry, their harmonious existence and the profound spiritual dimension of their daily lives, which he lauded as the expression of a civilisation where art was inseparable from life. He found in their communal, art-infused rituals a stark and welcome contrast to the mechanised, spiritually impoverished West.
This period of dedicated observation and anthropological research resulted in his landmark book, “Island of Bali”. The work, made possible by a Guggenheim Fellowship and his partnership with Walter Spies, served as a crucial cultural bridge, introducing the island's visual and performing arts to a wider Western audience.
Read the full article in the Arts of Asia September–October 2007 issue at artsofasia.com/back-issue.
Pictured:
1) Returning to the village at sunset
2) Village scene

The article, "Evolution of Yongzheng Rank Badges" by David K. Hugus and David S. Yee, meticulously charts the aesthetic ...
01/12/2025

The article, "Evolution of Yongzheng Rank Badges" by David K. Hugus and David S. Yee, meticulously charts the aesthetic and structural shifts in the Qing dynasty(1644–1911) rank badges during the Yongzheng emperor's reign (1723–1735), establishing this era as a pivotal, albeit brief, transition between the established styles of the Kangxi (1662–1722)and the later opulence of the Qianlong (1736 –1795) periods.
The most compelling revelation is that these significant design alterations were not mandated by new imperial regulations but were instead a direct consequence of the Yongzheng emperor's personal desire to alter the status garments. This demonstrates the profound influence of imperial aesthetic preference over formal bureaucratic decree in the evolution of court insignia.
The resulting style is characterised by a move towards restraint and refinement. Key innovations included a shift from the patterned gold or silver thread of the Kangxi era to a plain, couched silk ground, creating a more subdued and sophisticated texture. Furthermore, the badges were reduced in size from approximately 14 inches square to a more compact 11 inches, and the simple single-line border was replaced by a distinctive double border often featuring multi-coloured clouds.
Beyond these structural changes, the badges are replete with auspicious symbolism, incorporating motifs such as the Three Halberds (a visual pun for "three levels of promotion"), the Sacred Fungus and the Bell and Chime Stone (representing harmony).
Read the full article in Arts of Asia January – February 2011 issue at artsofasia.com/back-issue
Pictured：
1) First rank crane, from the collection of David Hugus. Image © David Hugus
2) Insignia badge for a fifth rank military official, Yongzheng period (1723-1735), embroidery on silk, 37 x 38 cm. Art Gallery of New South Wales, gift of Judith and Ken Rutherford, 2001

The article “Vietnamese Ceramics: A Ten Thousand Year Continuum” by James R. Brow and Anh Hoang Brow meticulously docume...
28/11/2025

The article “Vietnamese Ceramics: A Ten Thousand Year Continuum” by James R. Brow and Anh Hoang Brow meticulously documents the rich, indigenous tradition of Vietnamese ceramic art and its continuous evolution over millennia.
The tradition's origins lie in the Pre-Chinese Period – Stone Age and Early Bronze Age (10,000 BC – 111 BC), which laid the groundwork with essential, utilitarian wares from the ancient Hoa Loc and D**g Son cultures. This native craft was later transformed during the Chinese Colonial Period (111 BC – AD 938). Through the influence of the Han and Tang dynasties, Vietnamese artisans assimilated sophisticated techniques such as the potter's wheel, high-fired stoneware and early glazing methods.
A golden age of national sovereignty, the subsequent Ly-Tran Dynastic Period (1010–1400), witnessed the spectacular flourishing of a distinct Vietnamese aesthetic. Potters masterfully synthesised their inherited technical skills with a resurgent native artistic vision. This fusion produced elegant forms distinguished by refined monochrome glazes and adorned with evocative indigenous iconography, such as the Ly dragon.
Read the full article in Arts of Asia March – April 2004 issue at artsofasia.com/back-issue
Pictured:
1) Top view of cover showing intricate carved lotus bands and brown inlay
2) Jar with cover, brown-painted inlay design, ivory-white glaze, sculpted lotus petals on shoulder and cover, Ly-Tran dynastic period, 11th-13th century, height 17 cm, diameter 18 cm

Alfred Baur (1865-1951), a Swiss industrialist, forged a remarkable career that spanned continents and disciplines. Afte...
26/11/2025

Alfred Baur (1865-1951), a Swiss industrialist, forged a remarkable career that spanned continents and disciplines. After establishing a thriving enterprise in Ceylon—A. Baur, The Ceylon Manure Works—he returned to Geneva, where he dedicated himself to a pursuit, he considered his "proudest commercial success": the meticulous collection of Japanese and Chinese art. (Fondation Baur, musée des arts d'Extrême-Orient)
The author, Monique Crick explores the fascinating evolution of a collector whose passion transcended mere acquisition. Baur's journey began with Japanese "curios" like netsuke and sword guards, but his taste was soon refined through a pivotal partnership with the Japanese expert, Tomita Kumasaku. This collaboration guided Baur to a singular focus on Chinese ceramics, a shift that defined his legacy.
He moved from collecting general pieces to demanding only "unique pieces" of unparalleled aesthetic perfection. His collection is renowned for its sublime elegance, featuring rare peach-bloom porcelains and exquisite monochrome-glazed wares from the Song and Yuan dynasties, chosen for their quality and simplicity over mere ornamentation.

Read the full story of Alfred Baur in the July–August 2013 issue of Arts of Asia at artsofasia.com/back-issue
Pictured:
1) Jun ware bowl Jin or Yuan dynasty, 12th-13th century Diameter 12 cm Peach-bloom vases Mark and reign of Kangxi, circa 1710-1722
2) Alfred Baur in his garden, 1929

"Japanese Porcelain from the Royal Collection: The Porzellansammlung, Staatliche Kunstsammlungen Dresden" by Cora Wurmel...
24/11/2025

"Japanese Porcelain from the Royal Collection: The Porzellansammlung, Staatliche Kunstsammlungen Dresden" by Cora Wurmell offers an examination of the historically significant Japanese porcelain collection held at the Porzellansammlung in Dresden, primarily assembled by Augustus the Strong (1670-1733), Elector of Saxony and King of Poland. Driven by an unquenchable passion, Augustus had amassed approximately 35,000 pieces of porcelain by his death in 1735, with a considerable portion being Oriental.
His ambition was to install this immense collection in the unfinished Japanese Palace. The 1727 inventory attests to a preference for the more exclusive and expensive Kakiemon-style polychrome porcelain over the ubiquitous Imari wares, with over 3600 Kakiemon pieces recorded. The collection's arrangement was later conceived to create a visual dialogue between the Japanese imports and the output of the King's own Meissen factory, thereby symbolising its success in European porcelain production.
The profound value of the collection is underscored by the famous 1717 exchange, where Augustus traded 600 cavalrymen for 151 Chinese vases. The Porzellansammlung remains a powerful testament to Augustus the Strong's royal patronage and the rich cultural and economic interchange between Europe and East Asia in the 18th century.
For more insight on this article, check out Arts of Asia’s July-August 2014 issue at artsofasia.com/back-issue
Pictured:
1) Birdcage vase, Japan, circa 1700. Inv. no. PO 3801, Porzellansammlung, Staatliche Kunstsammlungen Dresden. Photo: Klaus Taenzer
2) 10 Kakiemon-style bottles, Japan, late 17th century. Inv. nos PO 4767, PO 5667, PO 4766, Porzellansammlung, Staatliche Kunstsammlungen Dresden. Photo: Juergen Karpinski

The scholarly article, "The First Chinese Ambassador and the South Kensington Museum" by Ming Wilson, meticulously exami...
21/11/2025

The scholarly article, "The First Chinese Ambassador and the South Kensington Museum" by Ming Wilson, meticulously examines the pivotal 1877 arrival of China’s inaugural envoy to Britain, Guo Songtao. It thoughtfully contrasts his formal diplomatic mission with the earlier, more ephemeral Chinese presence, such as the figure of "Hee Sing" at the 1851 Great Exhibition. The establishment of the legation, following the traumatic despoliation of the Yuanmingyuan, signalled a profound shift in Sino-Western relations, moving towards official, state-level engagement. Ambassador Guo, whose delegation comprised a deputy and interpreters, was demonstrably impressed by the West's technological and institutional advancements. A key focus of the article is his seminal visit to the South Kensington Museum (now the Victoria and Albert Museum). His diary entries eloquently convey his admiration for the museum's extensive and eclectic collections, which featured Chinese artefacts—including a bronze Buddha appropriated from the Summer Palace and exquisite porcelain—alongside global treasures.
The author meticulously discusses the often-complex provenance of these objects, noting that many were acquired through commerce, diplomatic exchange, or as spoils of conflict. The article also briefly touches upon China's participation in international showcases, such as the 1878 Paris Exposition Universelle and the subsequent mission led by Guo's successor, Zeng Jize, highlighting the evolving nature of diplomatic ties during the late Qing dynasty.
For more insight on this article, check out Arts of Asia’s Winter 2025 issue at artsofasia.com/back-issue
Pictured: The opening of the Great Exhibition by Queen Victoria on 1 May 1851, by Henry Courtney Selous, 1851, oil on canvas. © Victoria and Albert Museum (329-1889)

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