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.

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)

Goryeo celadon (cheongja) is a distinctive stoneware from Korea's Goryeo Dynasty (918–1392), celebrated for its subtle, ...
19/11/2025

Goryeo celadon (cheongja) is a distinctive stoneware from Korea's Goryeo Dynasty (918–1392), celebrated for its subtle, luminous bluish-green glazes, known as bisaek (jade-coloured). These ceramics represent a pinnacle of artistic and technical achievement, reflecting the refined tastes of the Goryeo royal court, aristocracy and Buddhist clergy. The tradition began in the 10th century, initially influenced by Chinese Yue ware, particularly tea bowls from Zhejiang province. It is widely believed that Chinese potters were instrumental in introducing advanced firing techniques, the construction of climbing hill kilns and the use of saggar, thereby establishing the technical foundation for Korean celadon production.
The evolution of Goryeo celadon is marked by significant stylistic innovation from the late 11th to the 14th centuries. Moving beyond the earlier, plain bisaek-glazed forms, the potters developed various sophisticated decorative techniques. The most notable innovation was the mid-12th century sanggam cheongja technique, which involved the intricate inlaying of white and black slip into carved designs—an uniquely Korean development. Later periods saw the creation of celadon sculptures, the application of iron pigment painting and the extremely rare use of gold paint decoration, which was strictly reserved for the highest echelons of royalty.
As detailed in Dr Christian Boehm’s article, "Goryeo Celadons in the Tokyo National Museum", the museum houses one of the finest collections of these wares in Japan. This collection is particularly significant as it showcases the full breadth of the celadon tradition's evolution, from its Chinese-influenced beginnings to the development of indigenous Korean techniques.
For more insight on this article, check out Arts of Asia’s Winter 2025 issue at artsofasia.com/back-issue
Pictured: Lobed cup and stand with decoration of chrysanthemum sprays Goryeo dynasty, first half of 13th century Stoneware with carved, incised and inlaid decoration under celadon glaze Overall height 11.8 cm TG-70

17/11/2025

Each Arts of Asia magazine is a meticulously preserved time capsule, offering a profound glimpse into the artistry and cultural essence of its era. Acquire a bundle of this bygone era of artistic brilliance and rich Asian heritage for your collection.
For magazine availability and custom rates, contact [email protected]

The article, "The Everlasting Attraction of Ru Ware" by Rose Kerr, meticulously examines the perennial allure of Ru ware...
17/11/2025

The article, "The Everlasting Attraction of Ru Ware" by Rose Kerr, meticulously examines the perennial allure of Ru ware, one of China's most revered ceramic traditions and counted amongst the exclusive "Five Great Wares". Its deliberate simplicity, unadorned aesthetic, pristine lustre and exquisitely refined forms perfectly encapsulated the prevailing aesthetic sensibilities and the Neo-Confucian philosophy of the Northern Song dynasty (960–1279), signifying a conscious departure from the more elaborate styles of the preceding Tang era (618-907).
The scholarly focus is primarily directed towards two pivotal kiln sites in Henan province: Qingliangsi and Zhanggongxiang. The Qingliangsi site, whose discovery in 1987 was a momentous event, has been definitively confirmed as a principal production centre for imperial Ru ware during the latter period of the Northern Song. Excavations unveiled a small, highly concentrated workshop, which principally yielded simple, fully glazed and spur-marked vessels. The quintessential glaze colour is the delicate mid-bluish grey, famously designated as tianqing ("the colour of incense after a shower").
The second site, Zhanggongxiang, exhibits notable parallels yet also distinct differences. In comparison with the Qingliangsi output, the Zhanggongxiang ceramics are distinguished by a paler body, a finer, more refined and frequently greener glaze and rounder, "sesame-seed shaped" spur marks. Historical documentation strongly suggests the Zhanggongxiang kiln held considerable importance, potentially having been elevated to an imperial status.
The profound imperial connection of Ru ware is substantiated by both historical records and surviving artefacts, such as the cup stand housed in the Victoria and Albert Museum.
Read the full article in Arts of Asia’s Winter 2025 issue at artsofasia.com/back-issue
Pictured:
1) Cup stand, late 11th–early 12th century, diameter 16.5 cm. Trustees of the Victoria and Albert Museum, given by Sir Harry Garner and Lady Garner, FE.1-1970
2) Inscription inside foot ring of cup stand in the Victoria and Albert Museum

Professor Peter Y.K. Lam's article examines a Ru-type mallet vase from the Hong Kong Xiwenguozhai Collection, currently ...
11/11/2025

Professor Peter Y.K. Lam's article examines a Ru-type mallet vase from the Hong Kong Xiwenguozhai Collection, currently on view at the Hong Kong Museum of Art, focusing on its provenance and connection to Northern Song/Jin dynasty Ru ware production. The author contextualises the vase by comparing it with ceramics from two key Henan kiln sites: Qingliangsi (QLS), confirmed as the imperial Ru ware site active in the late Northern Song (early 12th century), and Zhanggongxiang (ZGX), a debated, later Ru-type site. The 23.6 cm Xiwenguozhai vase is characterised by a flat dish mouth, a long neck, a stout body, a fully glazed base with five "sesame seed" firing spurs, and a greyish-green glaze with subtle crackle, echoing QLS wares. Professor Lam tentatively attributes the vase to the QLS kiln site (late Northern Song to Jin, 12th century), citing its mouth shape, glazed base, crackle and glaze tone, while inviting scholarly input and noting that ongoing excavations may clarify its exact provenance. (Hong Kong Museum of Art 香港藝術館, The Chinese University of Hong Kong 香港中文大學 - CUHK)
For more insight on this article, check out Arts of Asia’s Winter 2025 issue at artsofasia.com/back-issue
Pictured:
1. Mallet vase with grey-greenish glaze, the other side showing buff colour stain near the base Ru-type ware, Northern Song to Jin, 12th century Height 23.6 cm Xiwenguozhai Collection
2. Mallet vase with grey-greenish glaze, the flat base with five round whitish spurs Ru-type ware, Northern Song to Jin, 12th century Height 23.6 cm Xiwenguozhai Collection

Hilda Mak's article, "Engaging Past Wisdom: Min Chiu Society at Sixty-five", serves as a profound meditation on the phil...
07/11/2025

Hilda Mak's article, "Engaging Past Wisdom: Min Chiu Society at Sixty-five", serves as a profound meditation on the philosophical and aesthetic underpinnings of Chinese antiquity, as illuminated by the Min Chiu Society's quinquennial exhibition. The central tenet explored is jiangu (鑑古), a concept transcending mere connoisseurship to become a metaphysical discipline of self-cultivation. Drawing from the Yijing, the author posits that ancient objects, as vessels embodying the Dao, offer a path to spiritual wisdom, allowing the discerning eye to apprehend the fundamental patterns of creation.
On view at the Hong Hong Museum of Art until January 14th, 2026, the exhibition's curatorial narrative articulates the enduring dialectic within Chinese aesthetics. This is first evinced in the contrast between the Serene Simplicity of Song dynasty ceramics, a reflection of Daoist and Confucian philosophical restraint, and the Ornate Opulence of later imperial periods, acknowledging both as legitimate pinnacles of artistic expression. Furthermore, the artefacts celebrate Manmade Marvels, where the meticulous craftsmanship and intricate detail of works in jade and porcelain elevate human ingenuity to a level that rivals the sublime perfection of nature.
The article underscores the tradition of Admiring Antiquity as a vital source of Breaking Boundaries, demonstrating how the scholarly reverence for archaistic forms, particularly among the Ming and Qing literati, continually spurred creative innovation.
For more insight on this article, check out Arts of Asia’s Winter 2025 issue at artsofasia.com/back-issue
Pictured:
1. Pair of gilt silver filigree Goa stone cases with stands Qianlong period, Qing dynasty Gilt silver Heights 10 cm The K.L. Leung Collection
2. Basin with auspicious emblems and floral design in underglaze blue Yongle period, Ming dynasty Jingdezhen kiln, Jiangxi province Diameter 31 cm Dawentang Collection

Following its successful launch, the opening of “Japanese Jewels: Imperial Silver Bonbonnieres” at UMAG, HKU, last night...
05/11/2025

Following its successful launch, the opening of “Japanese Jewels: Imperial Silver Bonbonnieres” at UMAG, HKU, last night marks a significant cultural event. The evening was graced by the presence of distinguished guests, including the Consul-General of Japan in Hong Kong, Ambassador Miura Jun, the esteemed collectors Nancy and Robin Markbreiter and UMAG Director Dr Florian Knothe.
This exhibition offers a profound glimpse into the material culture of the Japanese Imperial Court, presenting a collection of exquisite silver bonbonnieres. These precious boxes illustrate a well-documented tradition that rose to prominence during the Meiji era and became formalised in imperial ceremonies. These miniature containers are not merely objects of beauty; they are emblematic historical artefacts. Crafted from pure silver and adorned with gold inlays and enamel, they display motifs that symbolise auspicious elements such as longevity, prosperity and harmony. The exhibition explores the story of both creation—by master artisans like Kobayashi, Miyamoto or Muramatsu—and reception, reflecting a socially meaningful system of imperial recognition for recipients from nobles to foreign envoys.
Discover how these pieces exemplify the convergence of courtly patronage, artisanal expertise and symbolic visual culture. Their evolution from Meiji modernisation to Reiwa minimalism tells a larger story of technical adaptation and the enduring legacy of Japanese imperial identity, shaped by encounters with European court practices.
The exhibition is on view until February 8th 2026 at the University Museum and Art Gallery, The University of Hong Kong.
Pictured:
1. Figural crane standing over minogame March 9th, 1894 25th wedding anniversary of Emperor Meiji 5 x 7.3 x 11.4 cm
2. Photo from the exhibition opening, featuring (left to right) collectors Nancy and Robin Markbreiter, the Consul-General of Japan in Hong Kong and UMAG Director Dr. Florian Knothe
3. Bonbonniere in the shape of a cabinet Miyamoto Shoko, Tokyo May 1931 (6th year of the Showa reign) Silver, 6.7 x 4.5 x 7.8 cm Inscriptions: “pure silver” and “Manufactured by Miyamoto” Made to commemorate the marriage of Princess Kikuko of Asaka

The Feng-Chun Ma Collection Auction is TOMORROW! We are thrilled to share news of a truly exceptional event for collecto...
03/11/2025

The Feng-Chun Ma Collection Auction is TOMORROW!
We are thrilled to share news of a truly exceptional event for collectors of Chinese art. The highly anticipated auction, "1000 Years of 100 Boys: The Feng-Chun Ma Collection", is happening TOMORROW, Tuesday, 4 November 2025, at 10:00 am at Roseberys London.
This collection presents an unprecedented collecting opportunity, featuring well-provenanced, rare and exceptional objects of Chinese art, all offered WITHOUT RESERVE.

Auction Details:
Date: Tuesday, 4 November 2025
Time: 10:00 am (London Time)
Location: Roseberys, 70–76 Knight’s Hill, West Norwood
Press Release (for more details) visit https://www.roseberys.co.uk/1000-years-of-100-boys-the-feng-chun-ma-collection-offered-without-reserve/2025-11-04

An article from our Winter 2025 issue is available to read online!Natalie Marchant’s “Marchant – One Hundred Years, A Ce...
31/10/2025

An article from our Winter 2025 issue is available to read online!
Natalie Marchant’s “Marchant – One Hundred Years, A Century of Connoisseurship: The Legacy of Marchant in Chinese Art (1925–2025)” offers a reflective and elegantly composed chronicle of her family’s century-long devotion to Chinese art. Founded in London in 1925 by her great-grandfather, Samuel Sidney Marchant, the gallery evolved from a modest antiques enterprise into an internationally respected institution synonymous with scholarship, integrity and refined taste. Each succeeding generation shaped its character — from Samuel’s intuitive connoisseurship and cultural sensitivity, through Richard’s scholarly expansion and global outreach, to Stuart’s disciplined refinement and exacting standards of presentation. Now, with the help of Natalie and her brother Samuel, the gallery embraces innovation while preserving its heritage, harmonizing tradition with modern sensibilities. Marking its centenary with a publication, a landmark exhibition, and a move to a fully restored Georgian townhouse in Mayfair, Marchant continues its enduring mission as both custodian and educator — fostering a deeper appreciation of Chinese art, sustaining cross-cultural dialogue, and exemplifying the timeless art of connoisseurship in a changing world. ()
To read visit https://artsofasia.com/marchant-one-hundred-years/
Picture: Jade treasure sack, Qianlong period, circa 1770, catalogue no. 25 in Marchant's 2020 95th Anniversary Jade Exhibition, The Lobl Collection of Chinese Jades

The Editorial from Arts of Asia's Winter 2025 issue is now available to read online!In celebration of the centenary of t...
28/10/2025

The Editorial from Arts of Asia's Winter 2025 issue is now available to read online!
In celebration of the centenary of the esteemed Marchant Gallery, Publisher and Editor Robin Markbreiter explores the gallery's remarkable journey from its founding in 1925 to the present, featuring an exclusive preview of Marchant's upcoming centenary exhibition. Robin praises their new publication, describing "Marchant: One Hundred Years" as "an extensive and beautifully illustrated two-volume work". He also highlights the Min Chiu Society's 65-year legacy with an exhibition at the Hong Kong Museum of Art, alongside reflections on the timeless allure of Ru ware and a study of Goryeo celadons at the Tokyo National Museum. Additional features include an interview with Nicholas Cullinan, Director of the British Museum, and a showcase of exquisite Japanese imperial silver bonbonnières at the University Museum and Art Gallery, HKU.
Read the full Editorial at https://artsofasia.com/winter-2025-editorial/ The commemorative book "Marchant: One Hundred Years" is now available at the Arts of Asia bookshop.
Pictured: Pair of famille-rose “dragon boat” moonflasks, Qianlong mark and period, Lot 2821, April 10th, 2008, Sotheby’s Hong Kong. Photo courtesy of Sotheby’s Hong Kong

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